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* * ’ 


THE 


RUDIMENTS 


OF 


ARCHITECTURE  : 

BEING  A 

TREATISE  ON  PRACTICAL  GEOMETRY, 

ON 

GRECIAN  AND  ROMAN  MOULDINGS  ; 


SHEWING 

THE  BEST  METHOD  OF  DRAWING  THEIR  CURVES,  WITH 
REMARKS  ON  THE  EFFECT  OF  BOTH. 

ALSO,  ON 

THE  ORIGIN  OF  BUILDING, 

ON 

THE  FIVE  ORDERS  OF  ARCHITECTURE, 

ON 

THEIR  GENERAL  AND  PARTICULAR  PARTS  AND  EMBELLISHMENTS  * 
WITH  EXAMPLES  FOR 

CORNICES,  BASE  AND  SURBASE  MOULDINGS, 
ARCHITRAVES,  AND  STAIRS. 

CORRECTLY  ENGRAVED  ON  THIRTY-FOUR  COPPERPLATES, 

BY  ASHER  BENJAMIN. 


SECOND  EDITION, 

ENLARGED,  WITH  A PLAN  AND  ELEVATIONS  OF  A CHURCH. 


BOSTON: 

PUBLISHED  BY  R.  P.  & C.  WILLIAMS, 

Cornhill-Square, 

'Between  Nos.  58  and  59,  Cornliill,  opposite  the  Old  State-House. -» 


1820; 


DISTRICT  OP  MASSACHUSETTS,  TO  WIT  : 

District  Clerk's  Office. 

BE  it  remembered,  that  on  the  twenty-fourth  day  of  February,  A.D.  1820,  and  in  the 
forty-fourth  year  of  the  Independence  of  the  United  States  of  America,  R.  P.  & C.  WIL- 
LIAMS, of  the  said  district, have  deposited  in  this  office  the  title  of  a book, the  right  whereof 
they  claim  as  Proprietors,  in  the  words  following,  to  wit : 

“ The  RUDIMENTS  of  ARCHITECTURE  : being  a treatise  on  practical  Geometry,  on 
Grecian  and  Roman  mouldings ; shewing  the  best  method  of  drawing  their  curves,  with 
remarks  on  the  effect  of  both.  Also,  on  the  origin  of  building,  on  the  five  orders  of  Archi- 
tecture, on  their  general  and  particular  parts  and  embellishments ; with  examples  for 
cornices,  base  and  surbase  mouldings,  architraves,  and  stairs.  Correctly  engraved  on  thirty- 
four  copperplates.  By  ASHER  BENJAMIN.  Second  Edition,  enlarged,  with  a plan  and 
elevations  of  a church.” 

In  conformity  to  the  act  of  the  congress  of  the  United  States,  entitled,  “ An  act  for  the 

encouragement  of  learning,  by  securing  the  copies  of  maps,  charts  and  books,  to  the  authors 

and  proprietors  of  such  copies  during  the  times  therein  mentioned  and  also  to  an  act, 

entitled,  “ An  act  supplementary  to  an  act,  entitled,  an  act  for  the  encouragement  of 

learning,  by  securing  the  copies  of  maps,  charts,  and  books,  to  the  authors  and  proprietors 

of  such  copies,  during  the  times  therein  mentioned ; and  extending  the  benefits  thereof  to 

the  arts  of  designing,  engraving,  and  etching  historical  and  other  prints.’* 

JOHN  W DAVIS  5 Clerk  of  the  District 
JOHN  W.DAVlb,  £ of  Massachusetts. 


Printed  by  Munroe  & Francis, 
No.  4,  Cornhill. 


PREFACE 


TO  THE  FIRST  EDITION,  1814. 

As  custom  has  established  the  necessity  of  a preface, 
it  gives  me  an  opportunity  of  saying,  that  the  want  of  a 
treatise  on  architecture,  fully  explaining  the  rudiments 
of  the  art,  the  price  of  which  being  so  small,  as  to  put  it 
within  the  reach  of  every  apprentice,  will,  in  my  opinion, 
be  a sufficient  apology  for  the  appearance  of  this  book. 
I have  endeavoured  to  methodise  and  explain  this  work, 
in  such  a plain,  and  easy  manner,  that  the  young  student 
may  collect  from  it  a general  knowledge  of  architecture. 
It  will  be  necessary  for  the  student,  to  commence  his 
studies  at  the  beginning  of  the  work,  and  fully  understand 
every  example  as  he  progresses,  as  there  is  nothing  which 
will  be  useless  to  him.  He  will  be  greatly  assisted,  by 
reading  the  origin  of  building,  and  the  parts  which  com- 
pose the  five  orders,  their  application  and  embellishments  $ 
also  the  orders  themselves,  which  I have  collected  from 
some  of  the  most  celebrated  books  on  this  subject. 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/rudimentsofarchiOObenj 


1 


THE  RUDIMENTS 


OF 

ARCHITECTURE. 


PLATE  I. 

PRACTICAL  GEOMETRY. 

DEFINITIONS. 

A.  point  is  that  which  has  position,  but  no  magnitude 
nor  dimensions ; neither  length,  breadth,  nor  thickness, 
as  A. 

A right  line,  is  length  without  breadth  or  thickness, 
as  1. 

A mixed  line,  is  both  right  and  curved,  as  2. 

A curve  line  continually  changes  its  direction  between 
its  extreme  points,  as  3. 

Parallel  lines  are  always  at  the  same  perpendicular  dis- 
tance ; and  they  never  meet,  though  ever  so  far  produced, 
as  4 and  5. 

Oblique  right  lines  change  their  distance,  and  would 
meet,  if  produced,  on  the  side  of  the  least  distance,  as  6. 

One  line  is  perpendicular  to  another,  when  it  inclines 
not  more  on  the  one  side  than  the  other ; or  when  the 
angles  on  both  sides  of  it  are  equal,  as  7. 

A surface,  or  superfices,  is  an  extension,  or  a figure, 
but  without  thickness,  as  8. 


6 


THE  RUDIMENTS  OF  ARCHITECTURE. 


A body,  or  solid,  is  a figure  of  three  dimensions  ; 
namely,  length,  breadth,  and  thickness,  as  9. 

A line,  or  a circle,  is  tangential,  or  a tangent  to  a cir- 
cle, or  other  curve,  when  it  touches  it  without  cutting, 
when  both  are  produced,  as  10. 

An  angle,  is  the  inclination,  or  opening  of  two  lines, 
having  different  directions,  and  meeting  in  a point,  as  11. 

A right  angle,  is  that  which  is  made  by  one  line  per- 
pendicular to  another,  or  when  the  angles  on  each  side 
are  equal  to  one  another,  as  the  lines,  a b,  and  a c,  on  16. 

An  acute  angle,  is  less  than  a right  angle,  as  12. 

An  obtuse  angle,  is  greater  than  a right  angle,  as  IS. 

Plain  figures  that  are  bounded  by  right  lines,  have 
names  according  to  the  number  of  their  sides,  or  of  their 
angles ; for  they  have  as  many  sides  as  angles ; the  least 
number  being  three.  A figure  of  three  sides  and  angles, 
is  called  a triangle,  as  14,  15,  16  and  17  ; and  they  re- 
ceive particular  denominations  from  the  relations  of  their 
sides  and  angles. 

An  equilateral  triangle,  is  that  whose  three  sides  are 
all  equal,  as  14. 

A right  angled  triangle,  is  that  which  has  one  right 
angle,  as  16. 

An  isosceles  triangle  has  only  two  sides  equal,  as  15. 

A scalene  triangle  has  all  sides  unequal,  as  17. 

An  obtuse  angled  triangle  has  one  obtuse  angle,  as  17. 

Of  four  sided  figures  there  are  many  sorts  ; as  the 
square  18,  which  is  a plain  regular  figure,  whose  super- 
fices  are  limited  by  four  equal  sides,  all  at  right  angles 
with  one  another. 


THE  RUDIMENTS  OF  ARCHITECTURE,  7 

The  parallelogram  19,  receives  its  name  from  its  op- 
posite sides  and  ends  being  parallel  to  each  other  ; the 
parallelogram  is  also  called  a long  square  or  oblong,  in 
consequence  of  its  being  longer  than  it  is  wide. 

The  rhomboids  20,  is  an  equilateral  parallelogram, 
whose  angles  are  oblique,  as  20. 

A trapezium  is  a quadrilateral,  which  has  neither  pair 
of  its  sides  parallel,  as  21. 

A trapezoid  hath  only  one  pair  of  its  opposite  sides 
parallel,  as  22. 

Plane  figures  having  more  than  four  sides,  are  in 
general  called  polygons,  and  receive  other  particular 
names  according  to  the  number  of  their  sides  or  angles. 

A pentigon,  is  a polygon  of  five  sides,  as  fig.  13, 
plate  2. 

A hexigon,  is  a polygon  of  six  sides,  as  fig.  14, 
plate  2. 

A heptagon  has  seven  sides  ; an  octagon  eight;  a * 
nonagon  nine ; a decagon  ten  ; an  undecagon  eleven ; 
and  a dodecagon  twelve. 

A regular  polygon  has  all  its  sides  and  its  angles 
equal  ; and  if  the)'  are  not  equal,  the  polygon  is  irregu- 
lar. 

An  equilateral  triangle  is  also  a regular  figure  of  three 
sides,  and  a square  is  one  of  four  ; the  former  being 
called  a trigon,  and  the  latter  a tetragon. 

A circle  is  a plain  figure,  bounded  by  a curve  line, 
called  the  circumference,  which  is  every  where  equidis- 
tant from  a certain  point  within,  called  its  centre. 

The  radius  of  a circle,  is  a right  line  drawn  from  the 
centre  to  the  circumference,  as  a b9  23. 


3 


THE  RUDIMENTS  OF  ARCHITECTURE. 


A diameter  of  a circle,  is  a right  line  drawn  through 
the  centre,  terminating  on  both  sides  of  the  circumfer- 
ence, as  c d9  on  23. 

An  arch  of  a circle  is  an  y part  of  the  circumference, 
as  a b.  24. 

A chord  is  a right  line  joining  the  extremities  of  an 
arch,  as  a b,  24. 

A semicircle  is  half  the  circle,  or  a segment  cut  off  by 
diameter,  as  c d,  25. 

A section  is  any  part  of  a circle,  bounded  by  an  arch 
and  two  radii,  drawn  to  its  extremities,  as  26. 

A quadrant,  or  quarter  of  a circle,  is  a sector,  having 
a quarter  of  the  circumference  for  its  arch,  and  the  two 
radii  are  perpendicular  to  each  other,  as  c a,  and  c e , 27. 

The  measure  of  any  right  lined  angle,  is  an  arch  of 
any  circle  contained  between  the  two  lines,  which  form 
the  angle,  and  the  angular  point  being  in  the  centre,  as 
30. 

The  height,  or  altitude  of  any  figure,  as  a perpendicu- 
lar, let  fall  from  an  angle,  or  its  vertex  to  the  opposite 
side,  called  the  base,  as  the  line,  a b,  28. 

When  an  angle  is  denoted  by  three  letters,  the  middle 
one  is  the  place  of  the  angle,  and  the  other  two  denote  the 
sides  containing  that  angle  ; thus,  let  a b d,  be  the  angle 
at  29,  b,  is  the  angular  point,  a b , and  b d.  are  the  two 
sides  containing  that  angle. 


2 


THE  RUDIMENTS  OF  ARCHITECTURE. 


9 


PLATE  II. 


FIG.  1. 

To  draw  a perpendicular  to  a given  point  in  a line. 
a b is  a line,  and  d a given  point ; take  a and  b , two  equal 
distances  on  each  side  of  d,  and  with  your  compasses  in 
a and  b , make  an  intersection  at  c,  and  draw  c d which 
is  the  perpendicular  required. 

FIG.  2. 

To  erect  a perpendicular  on  the  end  of  a line.  Take 
any  point  you  please  above  the  line,  as  c,  and  with  the 
the  distance  c b9  make  the  arch  a b d9  and  draw  the  line 
a c,  to  cut  it  at  d,  and  draw  d b9  the  perpendicular. 

FIG.  3. 

To  make  a perpendicular  with  a ten  foot  rod.  Let  b a 
be  six  feet  ; take  eight  feet  in  your  compasses;  from  b 
make  the  arch  c,  with  the  distance  ten  feet  from  a ; make 
the  intersection  at  c,  and  draw  the  perpendicular,  c b . 

FIG.  4. 

tvi  ■'  - 

To  let  fall  a perpendicular  from  a given  point  in  a line. 
In  the  point  e,  make  an  arch  to  cross  the  line  a b,  at  c d ; 
with  the  distance  c d,  make  the  intersection  /,  and  draw 
e /,  the  perpendicular. 

FIG.  5. 

To  divide  a line  in  two  equal  parts  by  a perpendicular. 
In  the  points  a and  b9  describe  two  arches  to  intersect  at 
c and  e,  and  draw  the  line  c e,  which  makes  the  per- 
pendicular required. 

FIG.  6. 

To  erect  a perpendicular  on  the  segment  of  a circle, 
ab.  From?,  draw  the  arch  e d ; and,  with  the  distance, 


10 


THE  RUDIMENTS  OF  ARCHITECTURE. 


e d , and  on  e and  d9  make  the  intersection  c,  and  draw 
the  perpendicular,  c L 

FIG.  7,  and  10. 

An  angle  being  given,  to  make  another  equal  to  it,  from 
a point,  in  a right  line.  Let  a c e9  be  the  given  angle, 
and  d n9  a right  line  ; d the  given  point ; on  a make  an 
arch  c c9  with  any  radius,  and  on  d9  with  the  same  radius, 
describe  an  arch,  no  ; take  the  opening,  c e9  and  set  it 
from  n to  o,  and  draw  o d9  and  the  angle  will  be  equal  to 
that  of  ace. 

FIG.  8. 

To  divide  any  given  angle  into  two  equal  parts.  On 
a,  the  angular  point,  with  the  radius,  a c,  or  any  other, 
make  the  circle  e d;  on  c and  d9  with  the  radius  e c, 
make  the  intersection  c,  and  draw  the  line  c a,  which  is 
the  division  required. 

FIG.  9. 

To  divide  a right  line  given,  into  any  number  of  equal 
parts.  Let  a b,  be  a given  line,  to  be  divided  into  ten 
equal  parts  ; take  any  distance  in  your  compasses,  more 
than  one  tenth  of  the  line  a b9  and  run  them  off  on  the 
line  h g9  and  with  that  distance,  make  the  triangle  h i g9 
and  draw  each  tenth  division  to  the  angle  i ; take 
the  length  of  the  given  line  a b9  and  set  one  foot  of 
the  compasses  at  a9  on  the  line  g i9  and  let  the  other  fall 
on  the  line  h i,  at  b9  parallel  to  h g9  and  draw  the  line  a b9 
which  gives  the  ten  divisions  required  ; the  lines  d c,  and 
f e9  or  any  others  which  are  shorter  than  the  base  line  of 
the  triangle,  can  also  he  drawn  across  it,  which,  when 
done,  will  he  divided  into  tenths. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


II 


FIG.  II. 

To  make  ail  equilateral  triangle  upon  a right  line. 
Take  a e9  the  given  side,  in  your  compasses,  and  on  a 
and  e9  make  the  intersection  c,  and  draw  a c , and  e c. 

FIG.  12. 

To  make  a geometrical  square  upon  a right  line. 
With  the  given  side  d c,  and  in  the  points  d c,  describe 
two  arches  to  intersect  at  a ; divide  a c,  into  two  equal 
parts  at  g ; make  a e,  and  a b , each  equal  to  a g,  and 
draw  c b9  de9  and  e b . 

FIG.  13, 14,  and  15. 

The  sides  of  any  polygon  being  given  to  describe  the 
polygon  to  any  number  of  sides  whatever.  On  the  ex- 
treme of  the  given  side  make  a semicircle  of  any  radius, 
it  will  be  most  convenient  to  make  it  equal  to  the  side  of 
the  polygon  ; then  divide  the  semicircle  into  the  same 
number  of  equal  parts  as  you  would  have  sides  in  the 
polygon,  and  draw  the  lines  from  the  centre  through  the 
several  equal  divisions  in  the  semicircle,  always  omitting 
the  two  last,  and  run  the  given  side  round  each  way  upon 
those  lines  $ join  each  side,  and  it  will  be  completed. 

fig.  13. 

How  to  describe  a pentagon.  Let  a 5,  be  the  given 
side,  and  continue  it  out  to  e ; on  a the  centre,  describe 
a semicircle  ; divide  it  into  five  equal  parts ; through 
2,  3,  and  4,  draw  a 2,  a c,  a and  6,  make  5 b,  equal  to  a 5, 

2 c,  and  c 6,  each  equal  to  a 5,  or  a 2 ; join  a 2,  2 c,  c b9 
and  b 5 ; in  the  same  way  may  any  polygon  be  drawn, 
only  divide  the  semicircle  into  the  same  number  of  parts 
that  the  polygon  is  to  have  sides. 


12 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  III. 

FIG.  1. 

To  make  an  octagon  in  a square.  Find  the  centre 
n9  with  the  distance,  a n,  and  in  the  points  abed , make 
the  arches  e n m,  l n h,  in  f9  and  k n g ; join  l k,m  i, 
h g , and / e,  which  completes  the  octagon. 

FIG.  2. 

Any  three  lines  being  given  to  make  a triangle.  Take 
one  of  the  given  sides,  a b,  and  make  it  the  base  of  the 
triangle  ; take  the  second  side,  c a,  in  your  compasses, 
place  one  foot  in  a,  and  make  the  arch  at  c ; take  the 
third  side,  b c,  and  place  one  foot  of  the  compasses  in  b , 
and  make  the  intersection  c,  then  draw  c a,  and  c b,  which 
completes  the  triangle. 

fig.  1 

Two  right  lines  being  given  to  find  a mean  proportion. 
Join  a e,  and  c b9  in  one  straight  line  ; divide  it  into  two 
equal  parts  at  the  point  n9  with  the  radius  n a9  or  n b ; 
describe  a semicircle,  and  erect  the  perpendicular  c d9 
then  is  be,  to  c d,  as  c d,  is  to  c a . 

fig.  4. 

To  make  a geometrical  square,  equal  to  a triangle 
given.  Let  ab  n9  be  the  given  triangle;  extend  b a,  to 
o ; make  a o,  equal  to  half  of  n r,  and  with  one  half  of 
bo9  on  the  point  c,  make  a semicircle  ; from  a9  erect  a 
perpendicular  intersecting  the  circle  at /;  make  a d9  d e, 
and  ef9  each  equal  to  a f,  and  the  geometrical  square  is 
completed. 


THE  RUDIMENTS  OF  ARCHITECTURE.  IS 

FIG.  5. 

A tangent  line  being  given,  to  find  the  point  where  it 
touches  the  circle.  From  any  point  in  the  tangent  line 
ab,  asc,  draw  a line  from  the  centre  e;  divide  e c,  into 
two  equal  parts  at  d;  on  d with  the  radius  d e9  or  d c, 
describe  an  arch,  cutting  the  given  circle  at  /,  which  is 
the  point  required. 

FIG.  6. 

Through  any  three  points  given,  to  describe  the  cir- 
cumference of  a circle.  Let  i d b9  be  the  given  points  ; 
on  id  and  &,  with  any  radius  large  enough  to  make  the 
intersections  o e9  and  n c9  describe  the  arches  e o9  and  n c ; 
draw  the  lines  e a9  andc  a,  cutting  o,  and  n , and  meeting 
at  a,  the  centre. 


FIG.  7. 

Two  circles  being  given,  to  make  another  circle  to  con- 
tain the  same  quantity.  Let  A and  B be  the  two  given 
circles  ; draw  a c9  cutting  the  two  circles  in  their  centres  ; 
on  c erect  a perpendicular ; make  c d9  equal  to  a b9  the 
diameter  of  the  circle  A ; draw  the  line  db;  divided  b 
into  two  equal  parts  at  e ; on  e9  with  the  distance  e d9  or 
e b9  describe  the  circle  D,  which  is  equal,  in  size,  to  the 
two  given  circles  A and  B. 

fig.  8. 

To  draw  a segment  of  a circle  to  any  length  and  height. 
a b9  is  the  length,  n c9  the  height ; divide  the  length  a b 
into  two  equal  parts  by  a perpendicular  f d ; divide  c b 
by  the  same  method,  and  their  meeting  at  / will  be  the 
centre  for  drawing  the  arch  b c a,  which  is  the  segment 
required. 


14 


THE  RUDIMENTS  OF  ARCHITECTURE. 


FIG.  9. 

To  describe  the  representation  of  an  ellipsis  by  cen- 
tres. Divide  g-  h into  three  equal  parts  at  d and  r ; with 
that  distance,  and  on  d and  r,  make  the  intersections  i and 
o ; from  i,  through  d and  r9  draw  i n,  and  i e ; from  o, 
through  d and  r,  draw  o c,  and  o a ; on  d and  r,  describe 
the  circles  eg  e,  and  aim;  on  o and  i describe  the  cir- 
cles a c,  and  n e. 


£ ■ 


■ 


4 


THE  RUDIMENTS  OF  ARCHITECTURE, 


15 


PLATE  IV. 

FIG.  1. 

To  describe  a representation  of  an  ellipsis  by  centres. 
Divide  a b9  into  four  equal  parts  ; with  the  distance  d d , 
and  on  d d , describe  the  arches  e d c,  and  e d c ; draw 
6 f,  ci , ^6  g9  and  e h on  c and  e9  with  the  distance  cf, 
or  c'i  ; describe  the  arches  i J9  and  g h,  bn  d9  and  d ; 
with  the  distance  d a9  or  d b9  describe  the  arches  fag, 
and  ibh. 

FIG.  2. 

To  make  an  ellipsis  with  a cord.  Take  half  of  the 
longer  diameter  a c9  which  is  a i9  or  ci;  with  that  dis- 
tance, fix  one  foot  of  the  compasses  in  o ; intersect  a c 
at  b and  d ; tack* in, a nail  at  & and  d9  then  lay  a cord 
round  d and  b9  and  make  it  meet  at  o ; fix  a pencil  at  o, 
and  move  your  hand  around,  keeping  the  cord  tight,  will 
describe  an  ellipsis.  1 

FIG.  3. 

To  describe  an  ellipsis  by  ordinates.  Make  a circle 
with  the  radius  a c,  or  a b ; divide  the  half  circle  into 
any  number  of  parts,  say  10  ; make  c 5,  perpendicular 
to  c b , and  equal  to  one  half  of  the  smaller  diameter  of  tlie 
ellipsis  ; draw  ordinates  through  each  of  the  ten  divisions 
on  the  semicircle  c db;  draw  a 5,  then  ca  5 will  be  the 
.scale  to  set  olf  your  oval  ; take  4,  1,  from  the  scale,  and 
set  it  from  1 to  1,  in  your  oval  both  ways,  and  at  each 
end ; then  take  3,  2,  from  the  scale,  and  set  it  from  2 to 
2 each  way  on  the  oval ; find  all  the  other  points  in  the 
same  manner  ; a curve  being  traced  through  each  of  these 
points,  will  form  the  true  ellipsis. 


16 


THE  RUDIMENTS  OF  ARCHITECTURE 


FIG.  4, 

To  describe  an  ellipsis  by  a trammel,  g f e,  is  a 
trammel  rod  ; g*  a nut,  with  a hole  through  it,  to  hold  a 
pencil ; at  f and  e9  are  two  other  sliding  nuts  ; make  the 
distance  of  /,  from  g9  one  half  of  the  shorter  diameter  of 
the  ellipsis,  and  fromg  to  e,  equal  to  one  half  of  the  lon- 
ger diameter ; the  points  / and  e,  being  put  into  grooves 
d c , and  a b9  then  moving  your  pencil  around  at  g9  will 
describe  a true  curve  of  the  ellipsis. 

FIG.  5,  and  6. 

To  draw  a semi-ellipsis  by  the  intersection  of  lines. 
Let  the  given  axis  be  a b9  and  divide  it  into  any  number 
of  parts,  as  10  ; also  let  the  height  be  div  ided  into  half 
that  number  of  parts,  as  5 ; make  e q9  equal  to  q k9  the 
height  of  the  arch ; then  from  the  point  e9  draw  lines 
through  the  equal  divisions  of  the  axis  a b ; likewise 
through  the  points  1,2,  3,  4,  c,  in  the  height  b c,  draw 
lines  tending  to  the  crown  at  p9  which  will  intersect  at 
the  points,  o n m l9  and  lines  being  drawn  through  the 
divisions  of  a c,  atp,  at  the  crown  ; in  the  same  manner 
will  form  the  points  i h g f ; a curve  being  traced 
through  these  points,  will  show  the  true  curve  of  the  el- 
lipsis. 

FIG.  7. 

How  to  draw  tne  segment  of  a circle  by  intersecting 
lines.  Let  g e9  be  the  length  of  the  segment ; a b9  its 
height ; draw  the  chord  b e,  and  b g ; draw  e c9  and  g d, 
at  right  angles  with  b e9  and  b g9  and  from  the  centre  at 
a9  divide  a e,  and  a g9  each  into  five  equal  parts  ; also 
from  b9  at  the  crown,  in  the  centre  of  the  line  d c,  divide 
b c,  and  b d , each  into  five  equal  parts  ; and  draw  1 1,  2 


THE  RUDIMENTS  OF  ARCHITECTURE. 


17 


2,  3 3,  4 4,  e c9  and  g d,  through  the  divisions  1,  2,  3, 
4,  5 , on  e 5,  and  g 5,  draw  lines  to  the  crown  at  b9  which 
ill  intersect  the  other  lines  at  the  points  m n o r,  and  q 
k i ; the  curve  being  traced,  the  segment  will  be  com- 
plete. 


c 


18 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  Y. 

FIG.  A. 

To  describe  a representation  of  a semi-ellipsis  by  the 
intersection  of  right  lines.  Let  c d,  be  the  transverse 
diameter,  d 6,  equal  to  one  half  of  the  conjugate  diame- 
ter ; divide  d 6 and  6 6,  each  into  six  equal  parts,  and 
draw  the  lines  d 1,  1 2,  2 3,  3 4,  4 5,  and  5 6,  which  com- 
pletes one  half ; proceed  in  the  same  manner  to  draw  the 
other  half,  and  also  to  draw  fig.  B and  C. 

Note.  This  way  of  representing  the  ellipsis  is  not  a 
correct  one ; but  in  most  cases  it  will  answer  in  practice, 
particularly,  where  exactness  is  not  required.  It  may 
he  observed  that  the  curve  is  changed  by  the  number  of 
parts  you  make  use  of ; if  divided  into  a great  number  of 
parts,  it  makes  the  curve  too  quick ; if  into  a small  num- 
ber, it  makes  it  too  flat ; by  taking  the  medium  between 
these  two  extremes,  you  will  approximate  nigh  the  truth. 

fig.  D. 

The  transverse  and  conjugate  diameters  of  an  ellipsis 
being  given,  to  draw  its  representation.  Draw  c d paral- 
lel, and  equal  to  o r , bisect  it  in  i,  draw  i r,  and  d w9 
cutting  each  other  at  m;  bisect  m r9  by  a perpendicular 
meeting  r w,  produced  at  n ; draw  n d9  cutting  c e9  at  a ; 
make  o g9  equal  to  oa;  oh9  equal  to  on9  through  the 
points,  a,  n9  h9  g ; draw  the  lines  n g9  g h9  h a9  and  n a ; 
and  in  the  centres  n9  h9  g9  a9  describe  the  four  sectors, 
and  it  will  produce  the  representation  required. 


V 


5 


THE  RUDIMENTS  OF  ARCHITECTURE. 


19 


FIG.  5. 

Divide  o 8 into  any  number  of  parts,  and  draw  the 
ordinates  a a,  1 b9  2 c,  3 d,  4 e,  5 /,  6 h,  7 i9  and  c k ; 
transfer  those  distances  to  a a,  1 b9  2 c,  3 d9  4 e,  5 /,  &c. 
to  figs.  4,  3,  2,  and  1,  and  through  the  points,  o,  a , c, 
d,  e9  f>  h,  i , k,  and  8,  trace  their  curves  and  the  thing  is 
done. 


20 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  VI. 

FIG.  1. 

How  to  find  the  curvature  of  the  different  ribs  in  a 
plaister  groins.  Let  en  12345  6 70  and  8,  on  A, 
be  the  given  arch,  standing  over  e n 1 2 3 4 See.  to 
8,  on  the  plan,  or  in  any  other  position  parallel  to  it  ; 
let  e c , and  a /,  be  the  angles  of  the  plan  over  which  the 
ribs  are  to  be  placed ; divide  the  base  line  e 8,  of  the 
given  rib  A,  into  any  number  of  parts,  and  through  those 
parts  draw  lines  from  the  arch  to  the  diagonal  line  / c, 
which  is  the  base  line  of  the  rib  D,  continue  them  at 
right  angles  through  the  rib  B,  and  transfer  the  distan- 
ces in  A,  the  given  rib  n n,  1 1,  2 2,  3 3,  4 4,  5 5,  6 6, 
7 7,  0 0,  to  n n,  1 1,  2 2,  3 3,  4 4,  5 5,  6 6,  7 7,  and  0 
0,  on  D and  B,  and  trace  the  curves,  which  will  complete 
the  angle  rib  D,  and  the  side  rib  B. 

Note.  The  ribs  D and  B,  may  be  described  with 
the  trmmel,  which  is  laid  down  on  plate  4,  fig.  4. 

FIG.  2. 

To  draw  a segment  of  a circle  by  rods  to  any  length 
and  height.  Take  two  rods,  d h , and  d a,  each  equal  to 
o n9  the  opening  ; place  them  to  the  height  at  d9  and  at 
the  points  o n9  put  a piece  across  them  o c n9  to  keep  them 
tight  and  move  the  rods  around  the  points  o n9  and  it 
will  describe  the  segment  at  the  point  d. 

FIG.  3. 

How  to  find  the  raking  mouldings  for  a pediment. 
Let  A,  be  the  given  moulding,  B,  the  raking  moulding, 
and  D,  the  return  moulding  $ draw  the  line  e a9  in  B, 


1 


6 


d 


- 


THE  RUDIMENTS  OF  ARCHITECTURE.  21 

at  right  angles  with  the  rake  of  the  pediment  and  e a,  in 
1)  perpendicular,  or  parallel  to  e c,  in  A ; make  c a in 
B,  and  c a in  D,  each  equal  to  c a in  A ; divide  the 
curve  of  the  given  cimarecta  A,  into  any  number  of 
parts,  as  here,  ittto  fo  r,  and  draw  lines  upon  the  rake 
and  parallel  to  it  ,*  with  the  distances  1 2,  and  3 4,  in  A, 
make  the  points  from  2 to  1,  and  3 to  4,  in  B and  D, 
and  through  those  points  trace  the  curves  e 4,  I n , in  B, 
and  e 4,  1 c,  in  X). 


THE  RUDIMENTS  OF  ARCHITECTURE, 


PLATE  VII. 

FIG.  1. 

How  to  diminish  the  shaft  of  a column.  Let  6 /,  be 
the  central  line ; divide  it  into  four  parts,  and  at  one 
fourth  make  the  line  a b9  across  the  column ; on  e,  c 
make  the  half  circle  a e b ; with  the  distance  /,  1 , at 
the  neck  of  the  column,  and  on  1,  on  the  central  line, 
make  the  points  1,  1,  on  the  circle ; divide  from  1 to  c 
into  four  parts;  also,  from  c to/ into  four  parts,  and 
draw  lines  through  each  of  those  divisions ; and  with 
the  distances  2 2,  3 3,  and  4 4,  in  A,  on  the  line  6/  make 
the  points  2 2,  3 3,  4 4,  on  the  sides  of  the  column, 
and  in  those  points,  and  in  1 b9  and  1 a,  tack  in  nails  or 
brads,  bend  a lath  around  them,  and  by  it  mark  the 
curves. 

FIG.  2. 

How  to  set  out  flutes  and  fillets  on  a pilaster.  Di- 
vide a b into  twenty  nine  equal  parts,  and  give  three  of 
them  to  each  flute,  and  one  to  each  fillet. 

FIG.  3. 

How  to  set  out  flutes  and  fillets  of  a column.  Draw 
the  lines  a b9  and  c d9  through  the  centre  of  the  column, 
and  at  right  angles  with  each  other;  divide  the  cir- 
cumference of  the  column  into  ninety-six  equal  parts  j 
with  one  and  one  half  of  those  parts  in  your  compasses, 
and  on  the  lines  a b9  and  c d9  at  3,  3,  3,  3,  &c.  describe  the 
flutes ; the  circle  r o s g9  is  the  size  of  the  column  at  its 
neck,  where  the  flutes  and  fillets  are  divided,  by  drawing 
each  line  of  the  fillets  across  it,  pointing  to  the  centre. 


z* 

1 

29 

par 

/•S' 

' 

1 

3 

i 

3 

3 

l 

3 

1 

3 

1 

3 

1 

3 

l 

2 

2! 

2 

LJ 

LJ 

THE  RUDIMENTS  OF  ARCHITECTURE. 


25 


FIG.  4. 

Shows  how  to  set  out  flutes,  without  fillets,  on  the 
Doric  column.  Divide  the  circumference  into  twenty 
equal  parts  ; with  three  fourths  of  one  of  those  parts,  on 
the  points  5 and  4,  make  the  intersection  /,  and  on  f,  de- 
scribe the  flute  54;  dabceghij  and  k,  are  also  cen- 
tres for  drawing  the  other  flutes  ; nor,  is  the  size  of 
the  column  at  its  neck. 


24r 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  VIII. 

FIG.  1. 

To  draw  the  Ionic  volute.  Draw  a geometrical 
square  within  the  eye  of  the  volute,  and  bisect  its  sides 
in  the  points  1 3,  and  2 4 ; and  from  those  points,  draw 
the  lines  1 3,  and  2 4;  divide  each  of  them  into  six  equal 
parts  ; see  A,  the  eye,  at  large  ; place  one  foot  of  the 
Compasses  at  1,  on  the  side  of  the  geometrical  square, 
and  extend  the  other  to  d,  and  draw  the  arch  d e ; then 
with  the  distance  2 e,  and  on  2,  describe  the  arch  e f ; 
on  3,  and  with  the  distance  3 /,  describe  the  arch/g; 
with  the  distance  4 g,  and  on  4,  describe  the  arch  g i ; 
and  with  the  distance  5 i,  and  on  5,  describe  i k ; and 
with  the  distance  6 k ; describe  k n ; and  with  the  dis- 
tance 7 n,  describe  no;  and  with  the  distance  8 o,  describe 
o m;  and  with  the  distance  9m,  describe  mr;  with 
10  r,  describe  r s ; with  11s,  describe  s t ; with  12  t , 
describe  t u ; and  on  n9  describe  d a,  which  completes 
the  outside  line. 

To  describe  the  inside  line,  which  diminishes  the  fil- 
let, divide  1 5 in  A,  into  five  equal  parts,  and  set  one  of 
them  from  1234567891011  and  12,  towards  the 
centre  of  the  eye,  which  will  be  the  twelve  centres  for 
drawing  the  inside  line. 

FIG.  2. 

To  draw  the  representation  of  an  elliptical  volute. 
Draw  the  line  b a , cutting  the  eye  in  its  centre  : divide 
2 g9  the  diameter  of  the  eye,  into  six  equal  parts ; on  g9 


24-.  7illn. 


H.W.  Snyder. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


25 


with  the  distance  g a9  describe  a half  circle  a b ; on  2, 
and  with  the  distance  2 b,  describe  the  circle  be;  on  3, 
and  with  the  distance  3 c9  describe  c d ; on  49  and  with 
the  distance  4 d9  describe  de;  on  5,  and  with  the  dis- 
tance 5 e9  describe  e j ; on  6,  and  with  the  distance  6 f9 
describe  fg;  to  draw  the  inside  line,  divide  one  sixth  of 
the  diameter  of  the  eye  into  five  parts,  and  set  one  of 
them  from  ^ 2 3 4 5 and  6,  toward  the  centre  of  the  eye, 
which  will  be  the  centres  for  drawing  the  inside  line. 
B,  is  the  eye  at  large. 


26 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATES  IX.  AND  X. 

On  plate  9,  are  fifteen,  and  on  the  lower  part  of  plate 
10,  are  six  designs  for  mouldings,  all  of  which  have  their 
particular  parts  figured ; and  the  centres  for  drawing 
their  curves,  are  marked  on  the  plates,  which,  I think, 
will  make  them  sufficiently  plain,  without  any  further 
explanation. 

PLATE  10. 

To  describe  the  quirk  ovolo,  A.  With  one  fourth 
of  i k in  your  compasses,  and  on  d,  which  is  two  and 
one  half  parts  from  the  line  i k9  describe  the  arch  n e, 
with  the  distance  ab  ; from  a and  e,  make  the  point  of 
intersection  at  c ; on  c,  describe  the  arch,  a e9  which 
completes  the  moulding. 

The  above  directions  will  be  observed  in  describing 
B and  C ; the  only  difference  in  them  is  their  projec- 
tions ; A,  projects  four  parts,  B,  five  parts,  and  C,  six 
parts. 

To  draw  the  quirk  ovolo  D,  and  the  hollow  E. 
Draw  the  lines  ab  in  D and  E,  and  divide  ab  in  F,  into 
eight  parts  ; draw  lines  from  each  of  those  parts,  at  right 
angles  with  ab  in  F,  and  parallel  to  the  fillets  of  D and 
E,  cutting  the  lines  ab  in  E,  at  2 4 9 7 10  12  and  14 ; 
transfer  the  distances  1 2,  3 4,  5 9,  6 7,  8 10,  11  12, 
13  14,  in  F,  to  1 2,  3 4,  5 9,  6 7,  8 10,  11  12,  13  14, 
in  D and  E,  and  by  those  points  trace  their  curves. 


10 


THE  RUDIMENTS  OF  ARCHITECTURE. 


27 


PLATE  IX. 

NAMES  OF  MOULDINGS. 

A,  cavetto,  or  hollow ; B,  cav’etto  and  astrigal ; C, 
ovolo  and  fillet ; D,  ovolo  and  astrigal ; E,  cimareversa  or 
ogee  ; F,  cimareversa  and  bead  ; G,  astrigal ; H,  bead ; 
I,  cimarecta  ; K,  L,  and  M,  are  scoties  of  different  projec- 
tions and  curves  ; N,  O,  P,  are  quirk  on  Grecian  ogees. 

Note.  If  mouldings  are  only  composed  of  parts  of  a 
circle,  and  straight  lines,  they  are  called  Roman  ; be- 
cause the  Romans,  in  their  buildings,  seldom,  or  never, 
employed  any  other  curve  for  mouldings,  than  that  of  a 
circle  ; but  if  a moulding  is  made  of  part  of  an  ellipsis,  or 
a parabola,  or  an  hyperbole,  the  mouldings  are  then  in 
the  Grecian  taste ; hence  it  appears,  that  mouldings  of 
the  Grecian  taste,  are  of  much  greater  variety  than  those 
of  the  Roman,  where  only  parts  of  circles  are  concerned. 

Although  I have  made  use  of  the  Roman  ovolo  and 
ogee  in  the  orders,  I do  not  generally  use  them  in 
practice ; the  bending,  or  turning  inward,  of  the  upper 
edge  of  the  Grecian,  or  quirk  ovolo,  when  the  sun  shines 
on  its  surface,  causes  a beautiful  variety  of  light  and  shade, 
which  greatly  relieves  it  from  plane  surfaces  ; and  if  it  is 
entirely  in  shadow,  but  receives  a reflected  light,  the 
bending,  or  turning  inward,  at  the  top,  will  cause  it  to 
contain  a greater  quantity  of  shade  in  that  place,  but 
softened  downward  around  the  moulding  to  the  under 
edge.  In  the  Roman  ovolo  there  is  no  turning  inward, 
at  the  top  ; therefore,  when  the  sun  shines  on  its  surface, 


THE  RUDIMENTS  OF  ARCHITECTURE. 


it  will  not  be  so  bright,  on  its  upper  edge,  as  the  Grecian 
ovolo  ; nor  will  it  cause  so  beautiful  a line  of  distinction 
from  the  other  mouldings,  with  which  it  is  combined, 
when  it  is  in  shadow,  and  when  lighted  by  reflection. 

In  the  Greek  ogee,  the  turning  in  of  its  upper  edge, 
and  the  turning  out  of  its  under  edge,  will,  when  the 
sun  shines  bright,  cause  it  to  he  very  bright  on  these 
edges,  which  will  greatly  relieve  it  from  other  perpen- 
dicular surfaces  when  combined  together ; and  when  it 
is  in  shadow,  and  lighted  by  reflection,  the  inclination 
of  the  upper  and  under  edges  will  also  make  a strong 
line  of  distinction,  on  both  edges,  between  it  and  other 
mouldings,  or  of  planes  connected  with  it ; whereas 
the  upper  and  under  edges  of  the  Roman  ogee  being 
perpendicular  to  the  horizon,  the  lightest  place  on  its 
surface  will  not  be  lighter  than  a perpendicular  plane 
surface ; nor  will  it  be  better  relieved  in  shadow  than 
perpendicular  plane  surfaces  also  in  shadow. 


- 


n 

•a 


,<z 


THE  RUDIMENTS  OF  ARCHITECTURE. 


29 


PLATE  XI. 

FIG.  1. 

To  describe  the  Grecian  ovolo,  the  tangent  a b9  at  the 
bottom,  and  the  point  of  contact  a9  and  the  greatest  pro- 
jection of  the  moulding  at  c,  being  given.  From  a, 
draw  a d e,  perpendicular  ; through  c,  draw  c b parallel 
to  it  ; also,  through  c9  draw  c d parallel  to  the  tangent 
b a9  cutting  a e at  d ; make  d e equal  to  a d9  then  will  d 
be  the  centre  of  an  ellipsis,  and  c d9  and  d a9  will  be  two 
simiconjugate  diameters,  from  which  the  ellipsis  may  be 
described  ; divide  b c9  and  c d9  each  into  a like  number 
of  equal  parts  ; from  the  point  a,  and  through  the  points 
1,  2,  3,  in  & c,  draw  lines  ; also  from  e9  through  the 
points  1,  2,  3,  in  c d9  draw  lines  cutting  the  former  at  4, 
5,  6,  which  will  give  the  points  through  which  the  curve 
is  to  be  traced. 

FIG.  2. 

This  figure  is  described  in  the  same  manner  as  fig.  l. 
it  has  a greater  projection,  the  tangent  being  also  taken 
in  a higher  position. 

FIG.  3. 

To  describe  a scotia.  Join  the  ends  of  each  fillet  by 
the  right  line  ab ; bisect  ab  at  d;  through  d9  draw 
C d e parallel  to  the  fillets,  and  make  C d9  and  d e,  each 
equal  to  the  depth  of  the  scotia  ; divide  d a9  db9  b /,  and 
a g9  each  into  a like  number  of  equal  parts  ; from  the 
point  e9  and  through  the  points  1,  2,  3,  in  a g9  and  b /, 
draw  lines  ; also  from  C,  through  the  points  1,  2,  3,  in 
d a9  and  d b9  draw  lines,  cutting  the  former  at  the  points 


30 


THE  RUDIMENTS  OF  ARCHITECTURE. 


4,  5,  6,  and  7,  8,  9,  through  which  points  the  curve  is 
to  he  traced. 

FIG.  4,  5y  and  6. 

Draw  g f 9 a continuation  of  the  upper  side  of  the  un- 
der fillet  ; through  b9  draw  b g,  perpendicular  to  g /, 
cutting  it  at  g9  and  the  tangent  / c,  at  the  point  c ; also 
through  b9  draw  b e parallel  to  g /,  and  through  /,  draw' 
f e d a,  parallel  to  g b9  cutting  b e at  e ; make  e a equal 
to  e f ; e d equal  to  c g9  and  join  b d ; then  divide  each 
of  the  lines  b c,  and  b d9  into  a like  number  of  equal 
parts;  from  the  point  /,  and  through  the  points  1,  2,  3, 
4,  in  b c9  draw  lines  ; also  from  a9  through  the  points  1, 
Q9  3,  4,  in  b d9  draw  lines,  cutting  the  former,  which 
will  give  the  points  required  by  which  to  trace  the 
curve. 

N.  B.  By  these  means  you  may  make  a moulding  to 
any  form  you  please,  whether  fiat,  or  round.  The  dif- 
ference produced  in  the  curves  of  figs.  5,  and  6,  from 
that  of  4,  is  occasioned  by  the  tangent  line  / c9  cutting 
g b,  nearer  to  b9  in  figs.  5 and  6,  than  in  fig.  4. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


31 


THE  ORIGIN  OF  BUILDING. 


Buildings  were  certainly  among  the  first  wants  ol 
mankind  ; and  architecture  must,  undoubtedly,  be  clas- 
sed among  the  earliest  antediluvian  arts.  Scripture  in- 
forms us,  that  Cain  built  a city  ; and  soon  after  the  de- 
luge we  hear  of  many  cities,  and  of  an  attempt  to  build 
a tower  that  should  reach  the  sky.  A miracle  stopped 
the  progress,  and  prevented  the  completion  of  that  bold 
design. 

The  first  men,  living  in  a warm  climate,  wanted  no 
habitations ; every  grove  afforded  shade  from  the  rays 
of  the  sun,  and  shelter  from  the  dews  of  the  night ; rain 
fell  but  seldom,  nor  was  it  ever  sufficiently  cold  to  ren- 
der closer  dwellings  than  groves,  either  desirable  or  nec- 
essary, even  in  the  hour  of  repose.  They  fed  upon  the 
spontaneous  productions  of  the  soil,  and  lived  without 
care,  and  without  labour. 

But  when  the  human  species  increased,  and  the  pro- 
duce of  the  earth,  however  luxuriant,  was  insufficient  to 
supply  the  requisite  food : When  frequent  disappoint- 

ments drew  on  contention,  with  all  its  train  of  calamities, 
then  separation  became  necessary,  and  colonies  disper- 
sed to  different  regions,  where  frequent  rains,  storms, 
and  piercing  cold,  forced  the  inhabitants  to  seek  for  bet- 
ter shelter  than  trees. 


32 


THE  RUDIMENTS  OF  ARCHITECTURE. 


At  first  they  most  likely  retired  to  caverns,  formed  by 
nature  in  rocks  ; to  hollow  trunks  of  trees  ; or  to  holes, 
dug  by  themselves  in  the  earth ; hut  soon,  disgusted 
with  the  damp  and  darkness  of  these  habitations,  they 
began  to  search  after  more  wholesome  and  comfortable 
dwellings. 

\ 

The  animal  creation  pointed  out  both  materials  and 
manners  of  construction.  Swallows,  rooks,  bees,  and 
storks,  were  the  first  builders.  Man  observed  their  in- 
stinctive operations ; he  admired  ; he  imitated  ; and  be- 
ing endued  with  reasoning  faculties,  and  of  a structure 
suited  to  mechanical  purposes,  be  soon  outdid  his  mas- 
ters in  the  builder’s  art. 

Rude  and  unseemly,  doubtless,  were  the  first  at- 
tempts ; without  experience  or  tools,  the  builder  col- 
lected a few  boughs  of  trees,  spread  them  in  a conic 
shape,  and  covering  them  with  rushes,  or  leaves,  and 
clay,  formed  his  hut ; sufficient  to  shelter  its  hardy  in- 
habitants at  night,  or  in  seasons  of  bad  weather.  But 
in  the  course  of  time,  men  naturally  grew  more  expert  \ 
they  invented  tools  to  shorten  and  improve  labour  ; fell 
upon  neater,  more  durable  modes  of  construction  ; and 
forms,  better  adapted  than  the  cone,  to  the  purposes  for 
which  their  huts  were  intended.  They  felt  the  want  of 
convenient  habitations,  wherein  to  taste  the  comforts  of 
privacy,  to  rest  securely,  and  be  effectually  screened 
from  troublesome  excesses  of  wTeather.  They  wanted 
room  to  exercise  the  arts,  to  which  necessity  had  given 
birth  ; to  deposit  the  grain  that  agriculture  enabled  them 
to  raise  in  abundance ; to  secure  the  flocks  which  fre- 


TIIE  RUDIMENTS  OF  ARCHITECTURE. 


S3 


quent  disappointments  in  the  chare,  had  forced  them  to 
collect  and  domesticate.  Thus  stimulated,  their  fancy 
and  hands  went  arduously  to  work,  and  the  progress  of 
improvement  was  rapid. 

That  the  primitive  hut  was  of  a conic  figure,  it  is  rea- 
sonable to  conjecture  ; for  of  that  form  do  the  American 
aborigines  build  their  wigwams ; and  from  its  being 
simplest  of  the  solid  forms,  and  most  easily  constructed. 
And  wherever  wood  was  found,  they  probably  built  in 
the  manner  above  described  ;*  but,  as  soon  as  the  inhabi- 
tants discovered  the  inconvenience  of  the  inclined  sides, 
and  the  want  of  upright  space  in  the  cone,  they  changed 
it  for  the  cube  ; and,  as  it  is  supposed,  proceeded  in  the 
following  manner. 

Having,  says  Vitruvius,  marked  out  the  space  to  be 
occupied  by  the  hut,  they  fixed  in  the  ground  several 
upright  trunks  of  trees  to  form  the  sides,  filling  the  in- 
tervals between  them  with  branches,  closely  interwoven, 
and  spread  over  with  clay.  The  sides  thus  completed, 
four  beams  were  laid  on  the  upright  trunks,  which,  be- 
ing wTell  fastened  together  at  the  angles  of  their  junction, 
kept  the  sides  firm  ; and  likewise  served  to  support  the 
covering,  or  roof  of  the  building,  composed  of  smaller 
trees,  placed  horizontally  like  joists  ; upon  which,  were 
laid  several  beds  of  reeds,  leaves,  and  earth,  or  clay. 

By  degrees,  other  improvements  took  place;  and 
means  were  found  to  make  the  fabric  lasting,  neat,  and 
handsome,  as  well  as  convenient.  The  bark  and  other 
protuberances  were  taken  from  the  trees  that  formed 
the  sides ; these  trees  w ere  raised  above  the  dirt  and 
E 


3i 


THE  RUDIMENTS  OF  ARCHITECTURE. 


humidity,  on  stones ; were  covered  at  the  top  with  other 
stones,  and  firmly  bound  round  at  both  ends  with 
ozier,  or  cords,  to  secure  them  from  splitting.  The 
spaces  between  the  joists  of  the  roof,  were  closed  up 
with  clay  or  wax,  and  the  ends  of  them  either  smoothed, 
or  covered  with  boards.  The  different  beds  of  materi- 
als that  composed  the  covering,  wfere  cut  straight  at  the 
eaves,  and  distinguished  from  each  other  by  different 
projections.  The  form  of  the  roof  too  was  altered  ; for 
being,  on  account  of  its  flatness,  unfit  to  throw  oft*  the 
rains  which  sometimes  fell  in  great  abundance,  it  was 
raised  in  the  middle,  on  trees  disposed  like  rafters,  after 
the  form  of  a gable  roof. 

This  construction,  simple  as  it  appears,  probably 
gave  birth  to  most  of  the  parts  that  now  adorn  our 
buildings  ; particularly  to  the  orders,  which  may  be 
considered  as  the  basis  of  the  w hole  decorative  part  of 
architecture;  for  when  structures  of  wood  were  set  aside, 
and  men  began  to  erect  solid  stately  edifices  of  stone, 
having  nothing  nearer  to  imitate,  they  naturally  copied 
the  parts  which  necessity  introduced  in  the  primitive 
hut  ; insomuch  that  the  upright  trees,  with  the  stones 
and  cordage  at  each  end  of  them,  were  the  origin  of  col- 
umns, bases,  and  capitals ; the  beams  and  joists,  gave 
rise  to  architraves  and  friezes,  with  their  triglyphs  and 
metopes  ; and  the  gable  roof  w'as  the  origin  of  pedi- 
ments ; as  the  beds  of  materials,  forming  the  covering, 
and  the  rafters  supporting  them,  were  of  cornices  ; 
with  their  corona,  their  mutules,  modillions,  and  dentils. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


36 


OF  THE  PARTS  WHICH  COMPOSE  THE  ORDERS  OF 
ARCHITECTURE, 

AND  OF  THEIR  PROPERTIES,  APPLICATION,  AND  EMBEL- 
LISHMENTS. 

As,  in  many  other  arts,  so  in  architecture,  there  are 
certain  elementary  forms,  which,  though  simple  in  their 
nature,  and  few  in  number,  are  the  principal  constituent 
objects  of  every  composition,  however  complicated  or 
extensive  it  may  be. 

Of  these  there  are,  in  this  art,  two  distinct  sorts  ; the 
first  consisting  of  such  parts,  as  represent  those  that 
were  essentially  necessary  in  the  construction  of  the 
primitive  huts  ; as  the  shaft  of  the  column,  with  the 
plinth  of  its  base,  and  the  abacus  of  its  capital,  represent- 
ing the  upright  trees,  with  the  stones  used  to  raise,  and 
to  cover  them.  Likewise  the  architrave  and  triglyph, 
representing  the  beams  and  joists  $ the  mutules,  modil- 
lions,  and  dentils,  either  representing  the  rafters,  or 
some  other  pieces  of  timber  employed  to  support  the 
covering  ; and  the  corona,  representing  the  beds  of  ma- 
terials which  composed  the  covering  itself.  All  these 
are  properly  distinguished  by  the  appellation  of  essen- 
tial parts,  and  from  the  first  class.  The  subservient 
members,  contrived  for  the  use  and  ornament  of  these, 
and  intended  either  to  support,  to  shelter,  or  to  unite 
them  gracefully  together,  which  are  usually  called 
mouldings,  constitute  the  second  class. 


36 


x THE  RUDIMENTS  OF  ARCHITECTURE, 


Of  regular  mouldings,  there  are  eight,  which  are,  the 
fillet,  the  astragal  or  head,  the  ci  mare  versa  or  ogee,  the 
cimarecta,  the  cavetto  or  hollow,  the  ovolo  or  quarter 
round,  the  scotia,  and  the  torus. 

The  names  of  these  are  allusive  to  their  forms  ; and 
their  forms  are  adapted  to  the  uses  which  they  are  in- 
tended to  serve.  The  ovolo  and  ogee,  being  strong  at 
their  extremities,  are  fit  for  supports  ; the  cimarecta  and 
cavetto,  though  improper  for  that  purpose,  as  they  are 
weak  in  the  extreme  parts,  and  terminate  in  a point,  are 
well  contrived  for  coverings  to  shelter  other  members  ; 
the  tendency  of  their  outline  being  very  opposite  to  the 
direction  of  falling  water,  which,  for  that  reason,  cannot 
glide  along  their  surface,  but  must  necessarily  drop. 
The  torus  and  astragal,  shaped  like  ropes,  are  intended 
to  bind  and  strengthen  the  parts  on  which  they  are  em- 
ployed ; and  the  use  of  the  fillet  and  scotia,  is  only  to 
separate,  contrast,  and  strengthen  the  effect  of  the  other 
mouldings : to  give  a graceful  turn  to  the  profile  ; and 
to  prevent  that  confusion,  which  would  he  occasioned  by 
joining  several  convex  members  together. 

An  assemblage  of  essential  parts  and  mouldings,  is 
termed  a profile  ; and  on  the  choice,  dispositions,  and  pro- 
portions of  these,  depend  the  beauty  or  deformity  of 
the  composition.  The  most  perfect  profiles,  are  such 
as  consist  of  few  mouldings,  varied  both  in  form  and  size ; 
fitly  applied,  with  regard  to  their  uses,  and  so  distributed, 
that  the  straight  and  curved  ones,  succeed  each  other 
alternately.  In  every  profile,  there  should  be  a pre- 
dominant member,  to  which  all  the  others  ought  to  seem 
subservient ; and  made,  either  to  support,  to  fortify,  or  to 


THE  RUDIMENTS  OF  ARCHITECTURE. 


37 


shelter  it  from  injuries  of  weather  ; and  whenever  the 
profile  is  considerable,  or  much  complicated,  the  predomi- 
nant should  always  be  accompanied  with  one,  or  more, 
other  principal  members ; in  form  and  dimension,  calcu- 
lated to  attract  the  eye  ; create  momentary  pauses  ; and 
assist  the  perception  of  the  beholder.  These  predominant 
and  principal  members,  ought  always  to  be  of  the  es- 
sential class,  and  generally  rectangular.  Thus,  in 
a cornice,  the  corona  predominates  ; the  modillions 
and  dentils  are  principals  in  the  compositions  ; the  cima- 
recta  and  cavetto,  cover  them  ; the  ovolo  and  ogee,  support 
them. 

When  ornaments  are  employed  to  decorate  a profile, 
some  of  the  moulding  should  always  be  left  plain,  in  order 
to  form  a proper  repose  ; for  when  all  are  enriched,  the 
figure  of  the  profile  is  lost  in  confusion.  In  the  entabla- 
ture, the  corona  should  not  be  ornamented  ; nor  the  mo- 
dillion  band  ; neither  should  the  plinths  of  columns,  fillets, 
nor  scarcely  any  square  members  be  carved  ; for,  general- 
ly speaking,  they  are  either  principal  in  the  composition, 
or  used  as  boundaries  to  other  parts  ; in  both  which 
cases,  their  figures  should  be  simple,  distinct,  and  unem- 
barrassed. The  dentil  band  should  remain  uncut,  where 
the  ovolo  and  ogee  immediately  above  and  below  it  are  en- 
riched ; for  when  the  dentils  are  marked,  the  three  mem- 
bers are  confounded  together,  and  being  covered  with 
ornaments,  become  far  too  rich  for  the  remainder  of  the 
composition,  which  are  defects,  at  all  times,  studiously  to 
be  avoided  ; as  a distinct  outline,  and  an  equal  distribution 
of  enrichments,  must,  on  every  occasion  be  strictly  attend- 
ed to. 


38 


THE  RUDIMENTS  OF  ARCHITECTURE. 


Ornaments  should  neither  be  too  frugally  employed, 
nor  distributed  with  too  much  profusion  ; their  value  will 
increase,  in  proportion  to  the  judgment  and  discretion 
shown  in  their  application. 

Variety  in  ornaments  should  not  be  carried  to  an  ex- 
cess. In  architecture  they  are  only  accessories  ; and 
therefore  they  should  not  be  too  striking,  rior  capable  of 
long  detaining  the  attention  from  the  main  object.  Those 
of  the  mouldings  in  particular,  should  be  simple,  uniform, 
and  never  composed  of  more  than  two  different  represen- 
tations upon  each  moulding  ; which  ought  to  be  cut  equally 
deep  ; be  formed  of  the  same  number  of  parts  ; all  nearly 
of  the  same  dimensions,  in  order  to  produce  one  even  un- 
interrupted hue  throughout  ; so  that  the  eye  may  not  be 
more  strongly  attracted  by  any  part  in  particular,  than 
by  the  whole  composition. 

i 

. All  the  ornaments  in  the  entablature  are  to  be  governed 
by  the  modillions,  or  mutules  ; and  the  distribution  of 
them  must  depend  on  the  intervals  of  the  columns  ; and 
be  so  disposed,  that  one  of  them  may  come  directly  over" 
the  axis  of  each  column.  It  is  farther  to  be  observed, 
that  the  ornaments  must  partake  of  the  character  of  the 
order  they  enrich ; those  used  in  the  Doric  and  Ionic 
orders,  are  to  be  of  simple  forms,  and  of  larger  bulk  than 
those  employed  in  the  Corinthian  or  Composite. 

When  friezes,  or  other  larger  members,  are  to  be  en- 
riched, the  ornaments  may  be  significant,  and  serve  to  in- 


THE  RUDIMENTS  OF  ARCHITECTURE. 


39 


dicate  the  destination,  or  use  of  the  building  ; the  rank, 
qualities,  profession,  and  achievements  of  the  owner. 

In  sacred  places,  all  obscene,  grotesque,  and  heathenish 
representations  ought  to  be  avoided  ; for  indecent  fables, 
extravagant  conceits,  or  instruments  and  symbols  of  pa- 
gon  worship,  are  very  improper  ornaments  in  structures 
consecrated  to  Christian  devotion, 

With  regard  to  the  manner  of  executing  ornaments,  it 
is  to  be  remembered,  that,  as  in  sculpture,  drapery  is  not 
estimable,  unless  its  folds  are  contrived  to  grace  and  indi- 
cate the  parts  and  articulations  of  the  body  it  covers  ; so 
in  architecture,  the  most  exquisite  ornaments  lose  all  their 
value,  if  they  load,  alter,  or  confuse  the  form  they  are  de- 
signed to  enrich  and  adorn. 

The  method  of  the  ancient  sculptors,  in  the  execution 
of  architectonic  ornaments,  was,  to  aim  at  a perfect  repre- 
sentation of  the  object  they  chose  to  imitate  ; so  that  the 
chesnuts,  acorns,  or  eggs,  with  which  the  ovolo  is  com- 
monly enriched,  are,  in  the  antiques,  cut  round,  and  al- 
most entirely  detached  ; as  are  likewise  the  berries,  or 
heads,  on  the  astragal,  which  are  generally  as  much  hol- 
lowed into  the  solid  of  the  body,  as  the  moulding  projects 
beyond  it  ; but  the  leaves,  shells,  and  flowers,  that  adorn 
the  cavetto,  cima,  ogee,  and  torus,  are  kept  flat,  like  the 
things  they  represent. 

In  the  application  of  their  ornaments,  they  observed  to 
use  such  as  required  a considerable  relief,  on  mould- 
ings, that  in  themselves  are  clumsy,  as  the  ovolo  and 
astragal ; which,  by  means  of  the  deep  incision  made 
in  them  to  form  these  enrichments,  acquired  an  extra- 


40 


THE  RUDIMENTS  OF  ARCHITECTURE, 


ordinary  lightness  ; but  on  more  elegant  parts,  as  the 
cavetto,  and  cima,  they  employed  thin  bodies,  which 
could  be  represented  without  entering  too  far  into  the 
solid.  The  ornaments  of  their  cornices  were  boldly 
marked,  that  they  might  be  distinguished  from  afar  ; 
but  those  of  the  bases  of  columns,  or  of  pedestals,  being 
nearer  the  eye,  were  more  slightly  expressed  ; as  well 
on  that  account,  as  because  it  would  have  been  improper 
to  weaken  these  parts,  and  impossible  to  keep  them  clean, 
had  there  been  any  deep  cavities  in  them  to  harbour  dust 
or  filth. 

When  objects  are  near,  and  liable  to  close  inspection, 
every  part  of  the  ornament  should  be  expressed,  and  well 
finished  ; but  when  they  are  much  exalted,  the  detail  may 
be  slightly  touched,  or  entirely  neglected  ; for  it  is  suf- 
ficient if  the  general  form  be  distinct,  and  the  principal 
masses  strongly  marked.  A few  rough  strokes  from  the 
hand  of  a skilful  master,  are  much  more  effectual  than 
the  most  elaborate  finishings  of  an  artless  imitator  ; 
which,  seldom  consisting  in  more  than  smoothing  and 
neatly  rounding  off  the  parts,  are  calculated  to  destroy, 
rather  than  to  produce  effect. 


THE  RUDIMENTS  OF  ARCHITECTURE, 


4) 


OF  TEE  ORDERS  OF  ARCHITECTURE 

IN  GENERAL. 

The  orders  of  architecture*  as  has  been  observed,  are 
the  basis  upon  which  the  whole  decorative  part  of  the  art 
is  chiefly  built,  and  toward  which  the  attention  of  the  ar- 
tist  must  ever  be  directed,  even  where  no  orders  are  intro- 
duced. In  them,  originate  most  of  the  forms  used  in 
decoration  ; they  regulate  most  of  the  proportions ; and 
to  their  combination,  multiplied,  varied  and  arranged,  in  a 
thousand  different  ways,  architecture  is  indebted  for  its 
most  splendid  productions. 

These  orders  are  different  modes  of  building,  said, 
originally,  to  have  been  imitated  from  the  primitive  huts  ; 
being  composed  of  such  parts  as  were  essential  in  their 
construction,  and  afterward  also  in  the  temples  of  anti- 
quity ; which,  though  at  first  simple  and  rude,  were,  in 
the  course  of  time,  and  by  the  ingenuity  of  succeeding 
architects,  wrought  up  and  improved,  to  such  a pitch  of 
perfection,  that  they  were,  by  way  of  excellence,  distin- 
quished  by  the  name  of  Orders. 

Of  these  there  are  five  ; three  said  to  be  of  Grecian 
origin,  are  called  Grecian  orders  ; being  distinguished  by 
the  names  of  Doric,  Ionic,  and  Corinthian  ; they  exhibit 
three  distinct  characters  of  composition  ; supposed  to  have 
been  suggested  by  the  diversity  of  character  in  the  human 
frame.  The  remaining  two,  being  of  Italian  origin,  are 

called  Latin  orders  ; they  are  distinguished  by  the  names 
F 


42 


THE  RUDIMENTS  OF  ARCHITECTURE. 


of  Tuscan  and  Roman,  and  were  probably  invented  with 
a view  of  extending  the  characteristic  bounds,  on  one  side, 
still  farther  toward  strength  and  simplicity  ; as  on  the 
other,  toward  elegance  and  profusion  of  enrichments. 

At  what  time  the  orders  were  invented,  or  by  whom 
improved  to  the  utmost,  remains,  at  least,  doubtful.  And 
of  their  origin  little  is  known  but  from  the  relation  of 
Vitruvius  ; the  veracity  of  w hich  has  been  much  question- 
ed, and  is,  probably,  not  much  to  he  depended  on. 

“ Doms,”  says  he,  “ son  of  Helenes  and  the  nymph 
Optica,  king  of  Achaia  and  of  all  the  Peloponnesus,  having 
formerly  built  a temple  to  Juno,  in  the  ancient  city  of 
Argos  ; this  temple  happened  to  be  in  the  manner  which 
is  called  Doric  ; and  was  afterwards  imitated  in  many 
others,  built  in  the  several  cities  of  Achaia. 

“ About  the  same  time,  the  Athenians,  after  having 
consulted  the  oracle  of  Apollo,  at  Delphos,  by  the  common 
consent  of  all  Greece,  sent  into  Asia  thirteen  colonics, 
each  under  the  command  of  a separate  captain  ; but  all 
under  the  general  direction  of  Ion,  son  of  Xuthus  and 
Creusa.  Ion  being  arrived  in  Asia,  conquered  all  Caria, 
and  founded  thirteen  large  cities  ; the  inhabitants  whereof, 
having  expelled  the  Carians  and  Leleges,  called  the  coun- 
try Ionia,  in  honour  of  Ion,  their  leader  ; and  erected 
temples,  of  which  the  first,  dedicated  to  Apollo  Panionius, 
was  built  after  the  manner  of  those  they  had  seen  in 
Achaia,  which  they  called  Doric,  because  temples  of  the 
same  sort  had  been  erected  in  the  cities  of  the  Dorians. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


43 


« But  some  time  after,  building  a temple  to  Diana, 
different  from  these,  and  of  a more  delicate  structure  ; 
being  formed  upon  the  proportions  of  a female  body,  as 
the  Doric  bad  been  on  those  of  a robust  man  ; and  adorn- 
ing the  capitals  of  their  columns  with  volutes,  to  represent 
the  curls  of  a woman’s  hair  ; and  the  shafts  with  flutings, 
to  express  the  folds  of  her  garment.  They  gave  to  this 
second  manner  of  building  the  name  of  Ionic  ; because  it 
was  invented,  and  first  used  by  the  Ionians. 

« The  third  sort  of  columns,  which  are  called  Corin- 
thian, and  represent  the  delicate  figure  of  a young  girl, 
owe  their  birth  to  the  following  accident. 

« A young  woman  of  Corinth  being  dead,  her  nurse 
placed  on  her  tomb  a basket,  containing  certain  trinkets 
in  which  she  delighted,  when  alive  ; covering  it  with  a 
tile  to  shelter  them  from  the  weather.  The  basket  hap- 
pened accidentally  to  be  set  on  a root  of  the  acanthus, 
which,  pushing  forth  its  leaves  and  sprigs  in  the  spring, 
covered  the  sides  of  it  ; and  some  of  them,  longer  than  the 
rest,  being  obstructed  by  the  angles  of  the  tile,  were  forced 
downward,  and,  by  degrees,  curled  into  the  form  of  vo- 
lutes. 

“ Callimachus,  a celebrated  sculptor,  passing  near  the 
tomb,  observed  the  basket,  and  in  how  graceful  a manner 
the  leaves  of  the  acanthus  had  surrounded  it  ; the  form 
pleased  him  exceedingly  ; he  imitated  it  on  the  tops  of  some 
columns,  which  he  afterward  executed  at  Corinth  ; esta- 
blishing and  regulating,  by  this  model,  the  manner  and 
proportions  of  the  Corinthian  order.” 


44 


THE  RUDIMENTS  OF  ARCHITECTURE. 


Of  the  I wo  Latin  orders,  the  Tuscan  is  said  to  have 
been  invented  by  the  inhabitants  of  Tuscany,  before  the 
Romans  had  intercourse  with  the  Greeks,  or  were  ac- 
quainted with  their  arts  5 whence  it  is  called  Tuscan. 
Probably,  however,  these  people,  originally  a colony  of 
Greeks,  only  imitated,  in  the  best  manner  they  could, 
what  they  remembered  in  their  own  country  ; simplifying 
the  Doric,  either  to  expedite  their  work,  or,  perhaps,  ta 
adapt  it  to  the  abilities  of  their  w orkmen. 

The  second  Latin  order,  though  of  Roman  production,  is 
but  of  modern  adoption  ; the  ancients  never  having  con- 
sidered it  as  a distinct  order.  It  is  a mixture  of  the  Ionic 
and  Corinthian  ; and  is  now  distinguished  by  the  names, 
of  Roman,  or  Composite. 

The  ingenuity  of  man  has  hitherto  not  been  able  to  pro- 
duce a sixth  order,  though  large  premiums  have  been  offer- 
ed, and  numerous  attempts  been  made,  by  men  of  the  first 
rate  talents,  to  accomplish  it.  Such  is  the  fettered  human 
imagination;  such  the  scanty  store  of  its  ideas,  that  Do- 
ric, Ionic,  and  Corinthian,  have  ever  floated  uppermost ; 
and  all  that  has  ever  been  produced,  amounts  to  nothing 
more  than  different  arrangements  and  combinations  of 
their  parts. 

An  order  is  composed  of  two  principal  members  ; the 
column,  and  the  entablature  ; each  of  which  is  divided 
into  three  principal  parts.  Those  of  the  column  are  the 
base,  the  shaft,  and  the  capital.  Those  of  the  entablature 
are  the  architrave,  the  frieze,  and  the  cornice.  All  these 
are  again  subdivided  into  many  smaller  parts ; the  disposi- 
tion, number,  forms,  and  dimensions,  of  which,  character- 


THE  RUDIMENTS  OF  ARCHITECTURE.  45 

ize  each  order,  and  express  the  degree  of  strength  or  deli- 
cacy, richness  or  simplicity  peculiar  to  it. 

The  simplest,  and  most  solid  of  all,  is  the  Tuscan.  It 
is  composed  of  few,  and  large  parts,  devoid  of  ornaments  ; 
and  is  of  a construction  so  massive,  that  it  seems  capable 
of  supporting  the  heaviest  burdens. 

There  is  no  regular  example  of  this  order  among  the 
remains  of  antiquity.  Piranisi  has  given  a drawing  of  a 
Tuscan  base,  found  at  Rome,  but  of  what  date  is  uncer- 
tain. Vitruvius,  in  an  indistinct  manner,  has  mentioned 
its  general  proportions  ; but  through  his  whole  book  does 
not  refer  to  one  structure  of  this  order.  The  Trajan  and 
Antonine  columns  at  Rome  are  reckoned  of  the  Tuscan 
order ; they  have  eight  diameters  for  their  height ; the 
torus  and  capitals  are  certainly  more  ornamented  than  is 
consistent  with  Tuscan  plainness.  The  fluting  to  the 
necks  also  are  after  the  most  ancient  Doric  examples.  It 
is  somewhat  singular  there  should  be  no  remains  of  this 
order  ; and  were  it  not  for  what  little  Vitruvius  has  writ- 
ten of  it,  it  certainly  might  have  been  lost  to  the  moderns. 
The  plainness  of  its  appearance,  no  doubt,  caused  it  to  be 
neglected  at  Rome  ; but  in  no  other  place  has  been  dis- 
covered any  truly  ancient  example. 

As  this  order  conveys  ideas  of  strength,  and  rustic  sim- 
plicity, it  may  very  properly  he  used  for  rural  purposes  ; 
for  farmhouses,  barns,  sheds,  stables,  and  green-houses  ; 
for  gates  of  parks  and  gardens  ; for  prisons,  arsenals ; 
also,  in  colonades  and  porticoes,  surrounding  squares, 
markets,  and  granaries,  or  storehouses  ; and,  generally. 


i 


4t> 


THE  RUDIMENTS  OF  ARCHITECTURE. 


wherever  magnificence  is  not  required,  and  expence  is  to 
be  avoided. 

The  design  here  annexed,  and  also  the  Doric,  Ionic, 
Corinthian,  and  Composite  orders,  I have  selected  from 
several  authors,  and  have  made  all  the  alterations,  that  in 
my  opinion,  were  necessary  to  render  them  conformable  to 
the  practice  of  the  present  time. 

The  Doric  order,  next  in  strength  to  the  Tuscan,  and 
of  a grave,  robust,  masculine  aspect,  is,  by  Scamozzi, 
called  the  Herculean.  Being  the  most  ancient  of  all  the 
orders,  it  retains  more  of  the  structure  of  the  primitive 
huts,  in  its  form,  than  any  of  the  rest  ; having  triglyphs 
in  the  frieze  to  represent  the  ends  of  joists  ; and  mutules 
in  its  cornice,  to  represent  rafters,  with  inclined  soffits,  to 
express  their  direction  in  the  originals,  from  whence  they 
were  imitated.  Its  column  too,  is  often  seen  in  ancient 
works  executed  without  a base,  in  imitation  of  the  trees, 
used  in  the  first  buildings,  without  any  plinths  to  raise 
them  above  the  ground.  Delicate  ornaments  are  repug- 
nant to  its  characteristic  solidity,  and  it  succeeds  best  in 
the  simple  regularity  of  its  proportions.  Nosegays  and 
garlands  of  flowers  grace  not  a Hercules,  who  always  ap- 
pears more  becomingly,  with  a rough  club  and  lion’s  skin. 
For  there  are  beauties  of  various  sorts  and  often  so  dis- 
similar, in  their  natures,  that  those  which  may  be  highly 
proper  on  one  occasion,  may  be  quite  the  reverse,  even 
ridiculously  absurd,  on  others. 

The  ancients  employed  the  Doric  in  temples  dedicat- 
ed to  Minerva,  to  Mars,  and  to  Hercules  ,*  whose  grave 


THE  RUDIMENTS  OF  ARCHITECTURE. 


47 


and  manly  dispositions,  suited  well  with  the  character  of 
this  order.  Serlio  says  it  is  proper  for  churches  dedicated 
to  Jesus  Christ  ; to  St.  Paul,  St.  Peter,  or  any  other 
saints,  remarkable  for  their  fortitude,  in  exposing  their 
lives,  and  suffering  for  the  Christian  faith.  It  may  he 
employed  in  the  houses  of  generals,  or  other  martial  men  ; 
in  mausoleums  erected  to  their  memory  ; likewise  in  ail 
kinds  of  military  buildings  ; as  arsenals,  gates  of  fortified 
places,  guard-rooms,  and  similar  structures. 

The  Ionic,  being  the  second  of  the  Grecian  orders,  holds 
a middle  station  between  the  other  two  ; and  stands  in 
equipoise  between  the  grave  solidity  of  the  Doric,  and  the 
elegant  delicacy  of  the  Corinthian.  Among  the  antiques, 
however,  we  find  it  in  different  dresses  ; sometimes  more 
simple,  and  bordering  on  Doric  plainness,  all  according 
to  the  fancy  of  the  architect,  or  nature  of  the  structure 
where  employed.  It  is,  throughout,  of  a more  slender 
construction  than  either  of  the  aforedescribed  orders  ; its 
appearance,  though  simple,  is  graceful  and  majestic  ; its 
ornaments  should  be  few,  rather  neat  than  luxuriant. 

As  the  Doric  order  is,  particularly  in  churches  or  tem- 
ples, dedicated  to  male  saints,  so  the  Ionic  is,  principally, 
used  in  such  as  are  consecrated  to  females  of  the  matronal 
state.  It  is  likewise  employed  in  courts  of  justice,  in  li- 
braries, colleges,  seminaries,  and  other  structures,  having 
relation  to  arts  or  letters  ; and  in  private  houses  ; 
and  in  all  places  dedicated  to  peace  and  tranquillity. 
The  ancients  employed  it  in  temples  sacred  to  Juno, 
to  Bacchus,  to  Diana,  and  other  deities,  whose  dispo- 


48 


THE  RUDIMENTS  OF  ARCHITECTURE. 


sitions  held  a medium  between  the  severe  and  the  effemi- 
nate. 

The  Corinthian.  Its  proportions  are  elegant  in  the  ex- 
treme ; every  part  of  the  order  is  divided  into  a great 
variety  of  members  ; and  abundantly  enriched  with  a di- 
versity of  ornaments.  The  ancients,  says  De  Chambray, 
aiming  at  the  representation  of  a feminine  beauty,  omitted 
nothing,  either  calculated  to  embellish,  or  capable  of  per- 
fecting their  work.  And  he  observes,  that  in  many  ex- 
amples left  of  this  order,  such  a profusion  of  different 
ornaments  is  introduced,  that  they  seem  to  have  exhausted 
imagination  in  the  contrivance  of  decorations  for  this  mas- 
terpiece of  the  art. 

The  ancients  frequently  employed  the  Ionic  entablature 
in  the  Corinthian  order,  as  appears  by  many  of  the  build- 
ings ; and  sometimes,  according  to  Vitruvius,  even  the 
Doric. 

When  the  modillion  cornice  is  employed  on  large 
concave  surfaces,  the  sides  of  the  modillions  and  coffers 
of  the  soffit,  should  tend  toward  the  centre  of  the  curve  ,* 
but  when  the  concave  is  small,  it  will  be  better  to  direct 
them  toward  the  opposite  point  in  the  circumference, 
that  the  contraction  may  be  less  perceptible,  and  the  parts 
dependant  thereon,  suffer  less  deviation  from  the  natu- 
ral form.  The  same  rules  must  be  observed  with  re- 
gard to  dentils,  to  the  abacus  and  bases  of  columns  of 
pilasters,  and  likewise  to  the  flanks,  of  the  pilaster  itself. 
But  on  a convex  surface,  the  sides  of  all  these  should 
be  parallel  to  each  other  ; for  it  would  be  unnatural,  and 
very  disagreeable,  to  see  them  narrowest  wrhere  they 
spring  out  of  the  cornice,  diverging  as  they  advance 


THE  RUDIMENTS  OF  ARCHITECTURE. 


49 


forward,  forming  sharp  angles,  and  a sort  of  mutilated 
triangular  plan,  with  enlarged  solids,  and  diminished  in- 
tervals ; all  calculated  to  destroy  the  usual  proportions 
and  beauty  of  the  composition. 

The  Corinthian  order  is  proper  for  all  buildings, 
where  elegance,  gaiety,  and  magnificence  are  required. 
The  ancients  employed  it  in  temples  dedicated  to  Venus, 
to  Flora,  Proserpine,  and  the  nymphs  of  fountains  ; be- 
cause the  flowers,  foliage,  and  volutes,  with  which  it  is 
adorned,  seemed  well  adapted  to  the  delicacy  and  elegance 
of  such  deities.  Being  the  most  splendid  of  all  the  orders, 
it  is  proper  for  the  decoration  of  squares,  or  galleries  and 
arcades,  surrounding  them  ; for  churches  ; and,  on  ac- 
count of  its  rich,  gay,  and  graceful  appearance,  it  may, 
with  propriety,  be  used  in  theatres,  in  ball  or  banquetting 
rooms,  and  in  all  places  consecrated  to  festive  mirth,  or 
convivial  recreation. 

Care  must  be  taken  in  Corinthian,  as  well  as  in  Com- 
posite capitals,  that  the  feet  of  the  lower  leaves  do  not 
project  beyond  the  upper  part  of  the  shaft  of  the  column  ; 
because  they  then  hide  a considerable  part  of  the  upper 
row  of  leaves,  and  give  a stunted  disagreeable  form  to  the 
whole  capital.  The  different  divisions  of  the  acanthus 
leaf,  and  bunches  of  olive  or  parsley,  which  compose  the 
total  of  each  leaf,  must  be  firmly  marked,  and  massed  in 
a very  distinct  manner  ; the  stems  that  spring  from  be- 
tween the  upper  leaves,  are  to  be  kept  low  upon  the  vase 
of  the  capital,  while  rising  between  he  leaves,  then  spring 
gradually  forward,  to  form  the  different  volutes. 

G 


50 


THE  RUDIMENTS  OF  ARCHITECTURE. 


The  Composite,  or  Roman  order,  certainly  owes  its 
origin  to  that  constant  solicitude  after  novelty,  which  ever 
renders  the  mind  of  man  restless  in  an  enlightened  and 
highly  cultivated  age.  The  desire  of  variety  and  novelty, 
either  of  new  invention,  or  combination,  certainly  engaged 
the  Roman  architects  to  unite  with  the  proportions  and 
enrichments  of  the  Corinthian  order,  the  angular  volute, 
and  dentils  of  the  Ionic,  and  by  this  union  to  compose  a 
new  order. 

The  introduction  of  the  angular  Ionic  volute,  and  the 
omission  of  the  upper  row  of  leaves  in  the  capital,  certain- 
ly give  it  a more  bold  and  noble  aspect,  than  that  of  the 
Corinthian  capital,  yet  different  from  any  of  the  other 
orders,  possessing  an  elegance  and  projection  very  pleas- 
ing, and  may  be  used  with  very  agreeable  and  happy 
effect. 

There  are  many  examples  remaining  at  Rome,  which 
show  the  general  estimation  of  this  order  there,  in  the 
height  of  its  splendour  and  prosperity.  In  their  triumphal 
arches  it  was  used  with  good  effect,  where  it  produced  an 
agreeable  boldness,  uniting  elegance  and  ornament. 

The  example  here  given  of  the  column,  its  base  and 
capital,  is  that  executed  in  the  triumphal  arch,  erected  in 
honour  of  Vespasian  and  Titus  at  Rome. 

The  entablature  is  nearly  a copy  of  that  of  Sir  William 
Chambers. 

The  cornice  differs  from  the  Corinthian,  only  in  the 
modillions,  which  are  square,  and  composed  of  two  fas- 
cias.  The  soffit  of  the  intervals  between  the  dentils, 


THE  RUDIMENTS  OF  ARCHITECTURE. 


51 


may  be  hollowed  upward  behind  the  little  fillet  in  front, 
which  occasions  a dark  shade,  that  marks  the  dentil  more 
distinctly.  And  the  same  method  may  be  observed  in  the 
Ionic  and  Corinthian  orders,  for  the  same  reason.  The 
roses  in  the  soffit  of  the  corona,  are  not  to  project  beyond 
its  horizontal  surface. 

The  Romans  used  the  Composite  order  more  frequently 
in  their  triumphal  arches,  than  in  any  other  buildings  ; 
meaning  to  express  their  dominion  over  those  nations  that 
invented  the  orders  of  which  this  is  composed.  It  may, 
with  propriety,  be  used,  wherever  elegance  and  magnifi- 
cence are  to  be  united  ; but  it  is  more  particularly  adapted 
to  buildings,  designed  to  commemorate  signal  events,  or, 
to  celebrate  the  virtues  and  achievements  of  conquerors 
and  legislators ; because  the  capitals,  and  other  ornaments, 
may  be  composed  of  emblems,  and  of  allusive  representa- 
tions. 


52 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XU. 


To  draw  the  Tuscan  order  to  any  given  height.  Sup- 
pose twelve  feet.  Divide  it  into  thirty-nine  equal  parts  ; 
each  part  will  be  three  inches,  five  eighths,  and  about  one 
sixteenth.  Take  four  of  these  parts  for  the  diameter  of 
the  column,  just  above  its  base,  which  will  be  fourteen  in- 
ches, and  three  quarters.  Of  that  length  make  the  scale 
of  minutes,  a b.  First  divide  the  line  a b into  twelve  equal 
parts  ; then  one  twelfth,  as  5 b9  into  five  parts,  each  of 
which  is  called  one  minute.  It  is  to  be  remembered,  that 
each  member  of  the  order  is  so  many  minutes  of  this 
scale,  either  in  height,  or  projection.  Under  H,  figures 
are  placed  against  each  member  of  the  order,  w hich  give 
the  number  of  minutes  it  is  high.  Under  P,  are  to  be 
found  the  number  of  minutes,  which  each  member  of  the 
order  projects.  If  it  be  necessary  to  add  a subplinth, 
divide  the  whole  height  into  forty -three  equal  parts  : and, 
as  before,  make  the  diameter  of  the  column  equal  to  four 
of  those  parts.  Give  one  diameter  to  the  height  of  the  sub- 
plinth. If  a pedestal  be  required,  divide  the  whole  height 
into  forty-eight  equal  parts,  four  of  which  will  be  the 
diameter  of  the  column.  Give  nine  to  the  height  of  the 
pedestal,  which  will  be  two  diameters,  fifteen  minutes. 
The  column  is  eight  diameters  high  ; and  the  height  of 


THE  RUDIMENTS  OF  ARCHITECTURE. 


53 


the  entablature,  is  one  hundred  and  five  minutes,  or  one 
diameter  and  forty-five  minutes.  Note.  The  direc- 
tions here  given,  for  making  a scale  of  minutes,  must 
be  strictly  attended  to,  in  making  that  for  the  Doric, 
Ionic,  Corinthian,  and  Composite  orders. 


54 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XIII. 


To  draw  the  Doric  order.  Divide  the  whole  height 
into  sixty-five  equal  parts,  six  of  which,  are  equal  to  the 
diameter  of  the  column,  just  above  its  base.  Make  the 
scale  of  minutes  to  draw  it  by,  of  that  length,  as  before 
directed,  in  the  Tuscan  order.  If  it  be  required  to  add  a 
subplinth  ; divide  the  height  into  seventy-one  equal  parts  ; 
give  six  of  them,  as  before,  to  the  diameter  of  the  column, 
and  one  diameter  to  the  height  of  the  subplinth.  If  it  be 
necessary  to  execute  this  order  on  a pedestal  ; divide  the 
height  into  eighty  parts,  six  of  which  will  be  the  diameter 
of  the  column.  Make  the  pedestal,  two  diameters  and 
thirty  minutes  high.  The  column,  including  base  and 
capital,  is  nine  diameters  high,  and  the  entablature,  one 
diameter  and  fifty-one  minutes  high. 

A represents  the  planceer  of  the  mutule.  Divide  g h , 
and  e c,  each  into  six  equal  parts  ; also  c h9  and  e g,  each, 
into  five  equal  parts.  Draw  diagonal  lines  across  the 
mutule,  and  through  each  of  those  divisions,  the  intersec- 
tion of  which  will  make  the  centres  for  drawing  the  bells. 
B represents  a section  of  the  mutule,  taken  from  a to  b9  on 
A.  C represents  the  front  view  of  a triglyph.  Divide  its 
breadth  into  twelve  equal  parts  ; give  one  to  each  half 
channel  on  the  outsides  ; two  for  each  space,  or  inter- 
val ; and  two  for  each  channel  ; and  two  parts  will 
remain  for  the  middle  space.  Every  two  parts  is  the 
width  of  a bell ; the  sides  of  each,  if  continued,  would  ter- 


13 


THE  RUDIMENTS  OF  ARCHITECTURE. 


55 


minate  in  a point,  at  the  top  of  the  fillet  above  them.  D 
shews  the  planceer,  or  lower  end  of  the  hells  ; also  the 
under  edge  of  the  fillet  above  them.  E is  a section  of  the 
triglyph.  From  o to  g9  the  triglyphs  and  mutules,  are 
each  thirty  minutes  wide,  and  seventy-five  minutes  from 
centre  to  centre.  The  centre  of  one,  of  each,  must  always 
be  placed  exactly  over  the  centre  of  a column.  The 
spaces  between  the  triglyphs,  called  metopes,  are  always 
square,  and  may  he  left  plain,  or  enriched  with  pateras, 
or  oxheads,  according  to  fancy.  When  the  column  is 
fluted,  it  has  twenty  in  number,  and  those  without  fillets  ; 
for  that,  and  the  diminishing  of  the  column,  see  Plate  7th. 
The  distance  between  columns  in  this  order,  must  be  reg- 
ulated by  the  triglyphs  in  the  entablature.  Two  diame- 
ters thirty  minutes  between  the  central  lines,  take  two 
triglyphs  ; three  diameters  forty-five  minutes,  take  three 
triglyphs  ; five  diameters,  take  four  triglyphs  ; six  diam- 
eters fifteen  minutes,  take  five  triglyphs  ; seven  diameters 
thirty  minutes,  take  six  triglyphs. 

The  diameter  of  the  neck  of  this  column  (and  also  that 
of  all  the  other  orders)  is  fifty  minutes,  of  course  they  di- 
minish ten  minutes  each. 


aK 


THE  RUDIMENTS  OF  ARCHITECTURE, 


PLATE  XIV. 

TO  DRAW  THE  IONIC  ORDER, 

Divide  the  whole  height  into  forty-seven  equal  parts, 
four  of  those  parts  are  equal  to  the  diameter  of  the  col- 
umn ; the  column,  including  its  base  and  capital,  is  ten 
diameters  high  ; the  height  of  the  entablatures  is  one 
diameter  and  forty-five  minutes.  If  it  be  required  to  pro- 
portion this  order  on  a subplinth  ; divide  the  height  into 
fifty-one  parts,  give  four  to  the  diameter  of  the  column  : 
make  the  subplinth  one  diameter  high.  If  a pedestal  be 
required,  divide  the  height  into  twenty-nine  equal  parts, 
two  of  which  are  equal  to  the  diameter  of  the  column. 
Make  the  pedestal  two  diameters  and  forty-five  minutes 
high  ; make  the  modillions  ten  or  eleven  minutes  in  front, 
place  them  thirty-one  minutes  from  centre  to  centre.  To 
draw  its  planceer,  see  Plate  20, Jig.  2.  In  placing  the  col- 
umns of  this  order,  due  regard  must  be  had  to  the  modil- 
lions in  the  cornice.  They  must  be  so  arranged  that  the 
central  line  of  each  one  will  be  exactly  under  that  of  a mo- 
dillion.  It  will  also  be  necessary  to  pay  due  regard  to 
the  above  directions,  in  placing  the  columns  of  the  Corin- 
thian, and  Composite  orders. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


57 


PLATE  XV. 


TO  DRAW  THE  CORINTHIAN  ORDER. 

Divide  the  height  into  twenty-six  equal  parts,  two  of 
which  will  be  equal  to  the  diameter  of  the  column  ; if  on  a 
subplinth,  divide  the  height  into  twenty-eight  equal  parts, 
give  two  of  them  to  the  diameter,  and  make  the  subplinth 
one  diameter  high.  If  a pedestal  be  added,  divide  the 
height  into  thirty-two  equal  parts  as  before  ; give  two  to 
the  diameter  of  the  column,  and  three  diameters  to  the 
height  of  the  pedestal.  The  entablature  is  two,  and  the 
column  eleven  diameters  high.  The  modillions  are  thir- 
teen minutes  in  front,  and  must  be  placed  thirty -five  min- 
utes from  centre  to  centre.  I have  given  this  order,  Pal- 
ladio’s Ionic  base,  for  the  sake  of  variety,  but  the  Attic 
base,  may  with  propriety  be  used,  in  this,  and  all  the  oth- 
er orders,  except  the  Tuscan. 


H 


58 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XVI. 

To  draw  the  Composite  order.  Divide  its  height  into 
seventy-nine  parts  ; take  six  of  them  for  the  diameter  of 
the  column.  If  a subplinth  be  required,  divide  it  into 
eighty-five  parts,  take  six  as  before,  for  the  diameter ; 
make  the  subplinth  one  diameter.  If  a pedestal  is  neces- 
sary, divide  it  into  ninety-seven  parts,  take  six  for  the 
diameter,  give  the  pedestal  three  diameters. 

The  modillions  are  eleven  and  a half  minutes  in  front, 
measuring  on  the  lower  facia  ; and  thirty-eight  minutes 
from  centre  to  centre.  Their  planceer  may  be  embellished 
with  eight  bells  each,  like  those  of  the  Doric  mutule  ; see 
a and  c. — b represents  a pannel  sunk  up  into  the  planceer 
between  the  modillions. 

I have,  in  imitation  of  the  ancients,  and  likewise  the 
moderns,  given  certain  rules  for  the  height  of  columns  ; 
although  experience  has  convinced  me,  that  no  determi- 
nate rule  will  answer  in  all  cases  for  their  proportion. 
They  must  be  proportioned  according  to  the  weight,  or 
apparent  weight  which  they  sustain.  It  would  be  absurd 
to  make  stone  columns  which  support,  besides  their  enta- 
blature, a whole  story  of  a brick  or  stone  building  (as  is 
the  case  of  those  in  front  of  the  Custom  House  in  this 
town)  as  many  diameters  in  height,  as  those  which  have 
only  their  entablature  to  support,  and  that,  and  the  col- 
umns made  of  wood  ; which  is  the  case  with  the  greater 
part  of  columns  in  porticos  and  colonades,  in  this  country. 


16 


THE  RUDIMENTS  OF  ARCHITECTURE. 


59 


Columns  when  coupled,  or  in  pairs,  may  be  made 
smaller,  than  when  single  ; and  they  may  generally  be 
made  one,  or  one  and  a half  diameter  higher  than  here 
laid  down,  when  made  of  wood,  and  to  appearance  having 
but  little  to  support.  There  are  situations,  when  made  of 
wood,  which  require  them  to  be  larger  than  here  laid 
down  ; as  in  steeples,  cupolas,  and  all  other  situations 
when  placed  at  a great  distance  from  the  eye.  When 
columns  are  placed  in  front  of  a building,  they  ought  to 
stand  in  front  of  the  piers,  and  never  before  windows  or 
doors.  When  placed  one  above  another,  the  diameter  of 
the  upper  one  should  be  equal  to  that  of  the  neck  of  the 
lower  one.  Always  place  the  lightest  order  on  the  top, 
the  largest  being  best  able  to  support.  Place  the-  Doric, 
on  the  Tuscan  ; the  Ionic,  on  the  Doric  ; the  Corinthianv 
and  Composite,  on  the  Ionic, 


60 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XVII. 

Shews  the  method  for  glueing  up  the  Ionic  capital.  A 
represents  the  plan  for  a column,  and  B for  that  of  a pilas- 
ter. The  pieces  for  the  horns  ought  to  be  glued  upright 
with  the  wood,  it  being  best  for  the  carving.  To  draw 
the  plan  of  the  abacus  ; set  off  at  each  angle,  as  at  c d9  ten 
minutes  with  the  distance  d b ; and  on  d and  6,  make  the 
intersection  at  a ; and  on  a,  make  the  arch  d b9  and  with 
the  same  distance  complete  the  three  remaining  sides  of 
the  abacus.  C shows  an  angular  elevation  of  the  capital, 
when  put  together.  D also  shews  the  body  of  the  cap 
with  the  mouldings  turned,  before  the  horns  are  glued  on. 


- • NV  ' k \ // 

v\ry  ! \\VJ/ 1 ) } 


I 


Plate  17. 


Plate  18. 


11©MAW  3©MC 


THE  RUDIMENTS  OF  ARCHITECTURE. 


61 


PLATE  XVIII. 

Shows  the  front  side,  and  plan  of  the  Roman  Ionic 
capital.  The  upper  part  of  the  astragal  is  equal  in  thick- 
ness, and  in  height,  to  the  eye  of  the  volute  ; the  height 
of  the  ovolo  above,  is,  from  the  upper  side  of  the  eye,  to 
the  upper  side  of  the  fillet,  in  the  second  revolution  ; the 
projection  of  the  cincture,  or  hollow  under  the  fillet  of  the 
astragal,  is  equal  to  the  height  of  the  fillet ; and  the  pro- 
jection of  the  bead  is  a semicircle  ; make  the  ovolo,  a 
quarter  of  a circle,  its  projection  is  from  the  perpendicular 
line  of  the  fillet.  The  dotted  line  upon  the  volute,  is  a 
section  through  the  side  at  A R,  or  through  the  plan  at  C 
D ; the  ornamental  part  is  drawn  by  hand. 


62 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XIX. 

Shows  an  angular  view  of  the  Corinthian  capital,  also 
two  plans,  one  for  a column,  and  the  other  for  a piJ aster. 
Make  A B C D the  upper  part  of  the  elevation  which 
contains  the  abacus,  and  volutes  solid.  The  leaves  are 
two  and  a half  minutes  thick  at  their  base,  and  must  be 
glued  on  with  the  grain  upright.  The  bell,  of  course, 
will  be  five  minutes  less  in  diameter,  than  the  shaft  of  the 
column  at  its  neck.  Make  the  bell  project  six  minutes 
at  the  top,  draw  the  abacus  by  the  same  directions  as  are 
given  for  that  of  the  Ionic. 


Tlate  19. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


63 


OF  PILASTERS. 

Pilasters  are,  I believe,  a Roman  invention.  The 
Greeks  employed  antse  in  their  temples  to  receive  the 
architraves  where  they  entered  upon  the  walls  of  the  cell. 
These,  though  they  were  in  one  direction  of  equal  diame- 
ter with  the  columns  of  the  front,  were,  in  flank,  extrava- 
gantly thin  in  proportion  to  their  height ; and  neither  their 
bases  nor  capitals  bore  any  resemblance  to  those  of  the 
columns  they  accompanied.  The  Roman  artists,  disgust- 
ed, probably,  with  the  meagre  aspect  of  these  antse,  and 
the  want  of  accord  in  their  bases  and  capitals,  substituted 
pilasters  in  their  places  ; which,  being  proportioned  and 
decorated  in  the  same  manner  with  the  columns,  are  cer- 
tainly more  seemly,  and  preserve  the  unity  of  the  compo- 
sition much  better. 

They  differ  from  columns  in  their  plan  only,  which  is 
square,  as  that  of  the  column  is  round.  Their  bases,  capi- 
tals, and  entablatures,  have  the  same  parts,  with  all  the 
same  heights  and  projections,  as  those  of  columns  ; and 
they  are  distinguished  in  the  same  manner,  by  the  names 
of  Tuscan,  Doric,  Ionic,  Corinthian,  and  Composite. 
Columns  are  certainly  the  most  perfect.  Nevertheless, 
there  are  occasions,  in  which  pilasters  may  be  employed 
with  great  propriety  ; and  some,  where  they  are,  on  vari- 
ous accounts,  even  preferable  to  columns. 

Engaged  pilasters  are  employed  in  churches,  galleries, 
halls,  and  other  interior  decorations,  to  save  room  ; for 


€4 


THE  RUDIMENTS  OF  ARCHITECTURE. 


as  they  seldom  project  beyond  the  solid  of  the  walls,  more 
than  one  quarter  of  their  diameter,  they  do  not  occupy 
near  so  much  space,  even  as  engaged  columns.  They  are 
likewise  employed  in  exterior  decorations ; sometimes 
alone,  instead  of  columns,  on  account  of  their  being  less 
expensive. 

When  pilasters  arc  used  alone,  as  principal  in  the  com- 
position, they  should  project  one  quarter  of  their  diameter 
beyond  the  walls,  which  gives  them  a sufficient  boldness, 
and  in  the  Corinthian  and  Composite  orders,  is  likewise 
most  regular  ; because  the  stems  of  the  volutes,  and  the 
small  leaves  in  flank  of  the  capital,  are  then  cut  exactly 
through  their  centres. 

When  pilasters  are  placed  behind  columns,  and  very 
near  them,  they  need  not  project  above  one  eighth  of  their 
diameter,  or  even  less  ; when  they  are  on  a line  with  col- 
umns, their  projection  is  to  be  regulated  by  that  of  the 
columns  ; and  consequently,  it  can  never  be  less  than  a 
semidiameter,  even  when  the  columns  are  engaged  as 
much  as  possible.  This  extraordinary  projection,  how- 
ever, will  occasion  no  very  great  deformity,  as  the  largest 
apparent  breadth  of  the  pilaster  will  exceed  the  least,  only 
in  the  ratio  of  eleven  to  ten,  or  thereabouts.  But  if  col- 
umns be  detached,  the  angular  pilaster  should  always  be 
coupled  with  a column,  to  hide  its  inner  flank  ; because 
the  pilasters  will  otherwise  appear  disproportionate,  when 
seen  from  the  point  of  view  proper  for  the  whole  building, 
especially  if  it  be  small,  and  the  point  of  view  near. 

It  is  sometimes  customary  to  execute  pilasters  without 
any  diminution  ; diminished  pilasters  are,  however. 


THE  RUDIMENTS  OF  ARCHITECTURE.  65 

on  many  accounts,  much  preferable.  There  is  more  va- 
riety in  their  form  ; their  capitals  are  better  proportioned, 
both  in  the  whole,  and  in  their  parts,  particularly  in  the 
Corinthian  and  Composite  orders  ; and  the  irregularities, 
occasioned  by  the  passage  of  the  architraves,  from  dimin- 
ished columns,  to  undiminished  pilasters,  are  thereby 
avoided  ; as  are  likewise  the  difficulties  of  regularly  dis- 
tributing the  modillions  and  other  parts  of  the  entablature, 
either  when  the  pilasters  are  alone,  or  accompanied  with 
columns. 

The  shafts  of  pilasters  are  sometimes  adorned  with 
flutings,  in  the  same  manner  as  those  of  columns  ; the 
plan  of  which  may  be  a trifle  above  a semicircle,  and  they 
must  be  to  the  number  of  seven  on  each  face,  which  makes 
them  nearly  of  the  same  size  with  those  of  the  columns. 
The  interval  between  them  must  be  either  one  third,  or 
one  fourth  of  the  flute  in  breadth. 

» 

The  capitals  of  Tuscan  or  Doric  pilasters,  arc  profiled 
in  the  same  manner  as  those  of  the  respective  columns  : 
but  in  the  capitals  of  the  other  orders,  there  are  some 
trifling  differences  to  be  observed.  In  the  antique  Ionic 
capital,  the  extraordinary  projection  of  the  ovolo  makes 
it  necessary,  either  to  bend  it  inward  considerably  toward 
the  extremities,  that  it  may  pass  behind  the  volutes,  or 
instead  of  keeping  the  volutes  flat  in  front,  as  they  com- 
monly are  in  the  antique,  to  twist  them  outward  till 
they  give  room  for  the  passage  of  the  ovolo. 

The  same  difficulty  subsists,  with  regard  to  the  passage 
of  the  ovolo  behind  the  angular  Ionic  volutes. 

T 


66 


THE  RUDIMENTS  OF  ARCHITECTURE. 


What  has  been  said  with  regard  to  the  passage  of  the 
ovolo  behind  the  volutes  in  the  Ionic  order,  is  likewise  to 
be  remembered  in  the  Composite  ; and  in  the  Corinthian, 
the  lip,  the  edge  of  the  vase  or  basket,  may  be  bent  a lit- 
tle inward  toward  its  extremities  ; by  which  means,  it 
will  easily  pass  behind  the  volutes.  The  leaves  in  the 
Corinthian  and  Composite  capitals,  must  not  project  be- 
yond the  top  of  the  shaft.  The  diameter  of  the  capital 
must  be  exactly  the  same  as  that  of  the  top  of  the  shaft ; 
and  to  make  out  the  thickness  of  the  small  bottom  leaves, 
their  edges  may  be  bent  a trifle  outward  ; and  the  large 
angular  leaves  may  be  directed  inward,  in  their  approach 
toward  them.  In  each  front  of  the  Composite  of  Corin- 
thian pilaster  capital,  there  must  be  two  small  leaves,  with 
one  entire,  and  two  half  large  ones  ; and  wrought  in  the 
same  manner  as  those  of  the  columns  are  ; the  only  dif- 
ference being,  that  they  will  be  somewhat  broader. 

The  employing  of  half,  or  other  parts  of  pilasters, 
that  meet,  and,  as  it  were  penetrate  each  other,  in  inward 
or  outward  angles,  should,  as  much  as  possible,  be  avoid- 
ed, because  it  generally  occasions  several  irregularities  in 
the  entablatures. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


67 


OF  PEDIMENTS. 

A pediment  consists  of  a horizontal  cornice,  supporting 
a triangular,  or  curvilineal  space,  either  plain  or  adorned, 
called  the  tympan,  which  is  covered  either  with  two  por- 
tions of  straight,  inclined  cornice,  or  with  one  curvilineal 
cornice,  following  the  direction  of  its  upper  outline. 

Pediments  owe  their  origin,  most  probably,  to  the  in- 
clined roofs  of  the  primitive  huts.  Among  the  Romans 
they  were  used  only  as  coverings  to  their  sacred  buildings, 
till  Caesar  obtained  leave  to  cover  his  house  with  a pointed 
roof,  after  the  manner  of  temples.  In  the  remains  of  an- 
tiquity we  meet  with  two  kinds  of  them,  viz.  triangular 
and  circular.  The  former  of  these  are  promiscuously  ap- 
plied to  cover  small  or  large  bodies  ; but  the  latter  being 
of  a heavier  figure,  are  never  employed  but  as  coverings 
to  doors,  niches,  windows,  or  gates,  where  the  smallness 
of  their  dimensions  compensates  for  the  clumsiness  of  their 
form. 

It  is  to  be  observed,  that  the  cimarecta,  and  fillet  above 
it,  of  the  cornice,  are  always  omitted  in  the  horizontal 
one  of  a pediment  ; that  part  of  the  profile  being  directed 
upward  to  finish  the  inclined  cornices.  This  difference 
of  direction,  increases  the  height  of  the  cimarecta  very 
considerably,  and  makes  it  far  too  large  for  the  other 
parts  of  tlje  entablature  ; to  obviate  which,  it  will  always 
be  better,  whenever  the  whole  object  is  covered  with  a 


68 


THE  RUDIMENTS  OF  ARCHITECTURE. 


pediment,  to  make  the  profile  of  the  cimarecta  lower  than 
usual,  by  which  means  it  may,  notwithstanding  the  in- 
crease occasioned  by  the  difference  of  its  direction,  be 
made  of  a size  suitable  to  the  rest  of  the  cornice.  But  if 
the  inclined  cornice  of  the  pediment  be,  on  each  side,  join- 
ed to  the  horizontal  ones,  the  only  good  method  of  lessen- 
ing the  abovementioned  deformity  is,  to  give  very  little 
projection  to  the  cimarecta  ; by  which  means  the  increase 
in  its  height  may  be  rendered  very  trifling. 

The  modillions,  mutules,  dentils,  and  other  ornaments 
of  the  inclined  cornice, must  always  answer  perpendicularly 
over  those  of  the  horizontal  cornice,  and  their  sides  be 
always  perpendicular  to  the  horizon. 

The  proportion  of  the  pediments  depends  upon  their 
size ; for  the  same  proportion  will  not  succeed  in  all  cases. 
When  the  base  of  the  pediment  is  short,  its  height  must  be 
increased  ; and  when  long,  it  must  be  diminished  ; for  if 
a small  pediment  be  made  low,  the  inclined  cornice,  which 
is  always  of  the  same  height,  whatever  may  be  the  dimen- 
sion of  the  pediment,  will  leave  little  or  no  space,  for  the 
tympan  ; consequently,  little,  or  no  plain  repose,  between 
the  horizontal  and  inclined  cornices.  And  if  a large 
pediment  be  made  high,  it  will  have  too  lofty  a tympan, 
and  the  whole  composition  will  appear  straggling,  and  too 
heavy  for  that  which  is  to  support  it.  The  best  proportion 
for  the  height,  is  from  one  fifth  to  one  quarter  of  the  base, 
according  to  the  extent  of  the  pediment,  and  the  character 
of  the  body  it  serves  to  cover. 


THE  RUDIMENTS  OF  ARCHITECTURE. 


69 


The  face  of  the  tympan  is  always  placed  on  a line  per- 
pendicular with  the  face  of  the  frieze  ; and,  when  large, 
may  be  adorned  with  sculpture,  representing  the  arms  or 
cypher  of  the  owner  $ trophies  of  various  kinds,  suited  to 
the  nature  of  the  structure  ; but,  when  small,  it  is  much 
better  left  plain. 


70 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XX. 


Fig.  1 represents  the  planceer  of  the  Ionic  cornice  at  an 
external  angle.  Fig.  4 is  also  a representation  of  the 
Doric  cornice,  at  an  external  angle, — a be  and  d are  re- 
presentations of  pannels,  which  are  sometimes  used  in  the 
planceer  of  that  cornice,  when  it  is  very  large  and  near  the 
eye,  but  it  generally  succeeds  best  plain. 

Fig.  5 represents  the  planceer  of  a mutule  of  this  order, 
which  has  already  been  explained.  Fig.  2 shews  the  side 
and  end  view  of  the  Ionic  modillion  ; to  draw  it,  divide  a 
6 into  six  equal  parts  on  4 ; make  the  arch  5 i on  c,  which 
is  one  and  a half  parts  from  4 ; make  the  arch  i n with 
the  same  distance  on  n and  1 $ make  the  intersection  at  a 
and  on  a complete  its  curves. 


so*- 


r.  1/ . 


I o n i c C omac  £ 


.‘ip  \ 


> — 

j;.i  & 


U 

~7~ 


■ 

T- 

1 1 >1 

7 i i 

j 

LJ  LJ  LJ 

7 


Plato  22 . 


THE  RUDIMENTS  OF  ARCHITECTURE. 


71 


PLATE  XXI. 

On  this  plate  are  three  examples  for  cornices,  belonging 
to  the  Tuscan,  Doric,  and  Ionic  orders.  That  of  the  Tus- 
can is  represented  with  blocks,  which  may  be  used  with 
success  when  small,  and  at  a considerable  distance  from 
the  eye.  Those  of  the  Doric,  and  Ionic,  are  represented 
with  dentils,  and  are  proper  for  inside  finishing,  &c. 
Draw  each  of  them  from  a scale,  made  on  the  diameter  of 
their  respective  columns. 


PLATE  XXII. 

DESIGNS  FOR  LEAVES,  &c. 

Fig.  A represents  a profile.  Fig.  B a front  view  of  a 
leaf,  for  the  Corinthian  capital.  Fig.  C a side  view.  Fig. 
D the  planceer  of  a modillion  of  that  order. 


n 


THE  RUDIMENTS  OF  ARCHITECTURE, 


% 

PLATE  XXIII. 


■ I ... 

DESIGNS  FOR  BANISTERS,  URNS,  AND  KEY-STONES. 


Fig.  A represents  a banister  four  diameters  high.  Di- 
vide it  into  eight  parts,  see  line  a 8,  one  of  which  is  the 
height  of  its  plinth.  Divide  from  fig.  1 to  2 into  four 
parts — give  one  to  the  torus — two  to  the  fillet  and  scotia — 
and  one  to  the  astrigal.  Give  one  eighth  to  the  abacus  or 
square  at  the  top.  Divide  from  6 to  7 into  four  parts — 
give  two  of  them  to  the  ovolo  and  fillet ; and  two  to  the 
necking  and  astrigal.  Fig.  B represents  a banister  five 
diameters  high.  Its  particular  parts  will  not  require  any 
further  explanation  than  that  which  is  given  of  A.  Fig.  B 
is  perhaps  a better  representation  for  ballustrades,  where 
columns  are  not  concerned,  than  that  of  A.  It  may  there- 
fore sometimes  be  proper  to  give  it  six  or  seven  diameters, 
where  the  banisters  are  long  and  near  the  eye.  The  dis- 
tance in  the  clear  between  them,  should  never  exceed  one 
half  of  their  diameters.  Always  place  half  of  a banister 
next  to  the  pedestal.  Banisters,  when  used  for  ballus- 
trades, may  be  considered  as  a pedestal ; and  they,  to- 
gether with  the  buse  and  cornice  of  a pedestal,  when 
placed  over  an  order  may  be  equal  in  height  with  the  en- 
tablature on  which  it  stands.  There  is  no  situation  which 
requires  it  to  be  made  lower,  but  there  are  some  which 


i 


Mate  23 . 


THE  RUDIMENTS  OF  ARCHITECTURE. 


73 


make  it  necessary  to  exceed  that  height.  The  plinth  of 
the  ballustrade,  should  be  placed  exactly  over  the  face  of 
the  wall,  or  frieze  of  the  entablature  on  which  it  is  to 
stand.  Fig.  C is  a design  for  a key-stone.  Its  width  may 
be  about  one  eleventh  part  of  the  arch,  in  which  it  is 
placed.  Fig.  D is  likewise  a design  for  a key-stone.  The 
width  of  this  should  be  about  one  sixteenth  of  the  arch,  in 
which  it  is  placed.  Figs.  E F and  G are  examples  for 
urns.  The  whole  height  of  E is  divided  into  seven  equal 
parts.  Those  of  F and  G each,  into  eight  equal  parts  ; 
and  those  parts  divided  again,  so  as  to  give  the  proportions 
of  their  particular  parts.  It  will  be  best,  generally,  to 
make  their  greatest  diameter  about  three  fourths  the  di- 
ameter of  the  pedestal,  or  post,  on  which  they  are  to 
stand.  Judgment  is  however  to  be  exercised  in  propor- 
tioning them,  so  that  they  may  appear  to  the  best  advan- 
tage. Likewise  for  those  of  banisters  and  keystones,  for 
the  same  proportion,  will  not  succeed,  equally  well  in  all 
situations. 


K 


74 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XXIV. 

OF  PEDESTALS. 

I have  judged  it  more  regular  to  treat  of  the  pedestal  as 
a separate  body  ; having  no  more  connection  with  the  or- 
der, than  as  an  attic,  a basement,  or  any  other  part  with 
which  it  may,  on  some  occasions,  be  accompanied. 

A pedestal,  like  a column  or  an  entablature,  is  composed 
of  three  principal  parts  ; which  are,  the  base,  the  dye, 
and  the  cornice.  The  dye  is  always  of  nearly  the  same 
figure,  being  constantly  either  a cube,  or  a parallelepiped ; 
but  the  base  and  cornice  are  varied,  and  adorned  with 
more  or  fewer  mouldings,  according  to  the  simplicity  or 
richness  of  the  composition  in  which  the  pedestal  is  em- 
ployed ; hence  pedestals  are,  like  columns,  distinguished 
by  the  names  of  Tuscan,  Doric,  Ionic,  Corinthian,  and 
Composite. 

Some  authors  are  very  averse  to  pedestals,  and  com- 
pare a column  raised  on  a pedestal,  to  a man  mounted  on 
stilts  ; imagining  that  they  were  first  introduced  merely 
through  necessity,  and  for  want  of  columns  of  a sufficient 
length. 

With  regard  to  the  proportion  which  their  height  ought 
to  bear,  to  that  of  columns  they  are  to  support,  it  is  by  no 
means  fixed  ; the  ancients  and  moderns  too,  having  in 
their  works,  varied  greatly  in  this  respect,  and  adapted 


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THE  RUDIMENTS  OF  ARCHITECTURE. 


75 


their  proportion  to  the  occasion,  or  to  the  respective 
purposes  for  which  the  pedestals  were  intended. 

I have  given  the  Tuscan,  two  diameters,  fifteen  min- 
utes ; the  Doric,  two  diameters,  thirty  minutes  ; the  Ionic, 
two  diameters,  forty-five  minutes  ; the  Corinthian  and 
Composite,  three  diameters  each,  in  height  ; but  it  is  not 
necessary  to  adhere  always  to  this  proportion  ; it  is,  how- 
ever, to  be  observed,  that  when  pedestals  are  profiled 
under  each  column,  and  the  dye  is  much  less  than  a square 
in  height,  the  pedestal  has  a clumsy  appearance  ; and 
when  a pedestal  of  the  same  kind  exceeds  one  third  of  the 
height  of  the  column,  it  has  a lean,  unsolid,  tottering  as- 
pect. But  if  they  are  continued  without  any  breaks,  this 
need  not  be  attended  to  ; though,  indeed,  there  are  very 
few  occasions,  in  which  pedestals,  higher  than  one  third 
of  the  column,  ought  to  be  suffered  ; as  they  lessen  too 
much  the  parts  of  the  order,  and  become  themselves  too 
principal  in  the  composition. 

The  plan  of  the  dye  is  always  made  equal  to  that  of  the 
plinth  of  the  column. 

It  is  sometimes  customary  to  adorn  dyes  of  pedestals 
with  projecting  tablets,  or  with  panels  sunk  in,  and  sur- 
rounded with  mouldings.  The  former  of  these  practices 
ought  seldom  to  be  admitted,  as  these  tablets  alter  the  gen- 
eral figure  of  the  pedestal,  and  when  they  project  much, 
give  it  a heavy  appearance.  The  latter  should  be  reserved 
for  large  pedestals  only. 

With  regard  to  the  application  of  pedestals,  it  must 
be  observed,  that  when  columns  are  entirely  detached, 


76 


THE  RUDIMENTS  OF  ARCHITECTURE. 


and  at  a considerable  distance  from  the  wall,  as  when 
they  are  employed  to  form  porches,  or  porticoes,  they 
should  never  be  placed  on  detached  pedestals  ; for  then 
they  may  indeed  be  compared  to  men  mounted  on  stilts, 
as  they  have  a very  weak  and  tottering  appearance. 


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THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XXV. 


On  this  plate  are  four  designs  for  impost  mouldings. 
To  draw  them  to  a given  height,  divide  that  height  into 
twenty,  or  from  that  to  twenty-three  equal  parts,  as  judg- 
ment may  dictate,  one  of  which  will  be  the  height  of  the 
impost ; divide  it  into  as  many  parts,  as  are  contained  in 
the  impost  to  be  drawn  ; then  each  member, either  in  height 
or  projection,  is  so  many  parts  of  that  division,  as  are  fig- 
ured on  the  plate. 


78 


THE  RUDIMENTS  OF  ARCHITECTURE, 


« 

PLATE  XXVI. 

* 

DESIGN  FOR  A FRONTISPIECE  IN  THE  TUSCAN  ORDER. 

The  door  is  four  feet  wide,  and  eight  feet  high.  Divide 
its  height  into  fifteen  equal  parts,  each  of  which,  will  be 
equal  to  one  half  of  the  diameter  of  the  column.  Place 
the  central  line  of  each  column,  or  pilaster,  as  the  case 
may  be,  one  diameter  from  the  opening  of  the  door. 
Make  the  pitch  of  the  pediment,  equal  in  height  to  two 
ninths  of  its  extreme  width.  Make  the  height  of  the  sub- 
plinths equal  to  the  thickness  of  the  first  step.  In  this  ex- 
ample, I have  chosen  to  let  the  whole  of  the  mouldings, 
belonging  to  the  capital,  pass  between  the  door  and  sash  ; 
thinking  that  separation  not  too  great  for  this  order,  as 
all  its  parts  are  so  very  large  and  bold.  It  would,  how- 
ever, be  proper,  in  frontispieces  of  the  Ionic,  and  Corin- 
thian orders,  to  reduce  the  distance,  between  the  door  and 
window,  to  two  and  a half,  or  three  inches,  on  account  of 
the  parts  of  those  orders  being  much  more  delicate  than 
those  of  the  Tuscan.  The  division  between  the  door  and 
sash,  in  this  example,  is  ornamented  by  a tablet.  Its  pro- 
jection must  be  exactly  equal  to  that  of  the  capital,  or  im- 
post moulding,  on  which  it  is  placed. 

Fig.  A shews  the  plan  of  this  frontispiece.  It  projects 
from  the  building  two  feet  four  inches  ; and  may  be  in- 
creased to  three  feet  four  inches,  if  necessary. ' The  ceil- 
ing, under  the  raking  cornice,  may  be  embellished  with 
panels,  &c. 


27 


THE  RUDIMENTS  OF  ARCHITECTURE. 


79 


PLATE  XXVII. 

DESIGN  FOR  A VENETIAN  ENTRANCE,  EMBELLISHED  WITH 
A DORIC  PORTICO. 

Divide  from  a to  & into  nine  equal  parts,  one  of  which 
will  be  equal  to  the  diameter  of  the  column  ; proceed  to 
draw  it,  as  before  directed,  in  the  Doric  order.  Make 
the  subplinth  equal  in  height  to  the  thickness  of  two  steps. 
The  projection  from  the  building  and  distance,  between 
the  columns,  must  be  regulated  by  the  triglyphs  in  the 
frieze  ; see  Doric  order  for  explanation.  All  the  other 
parts  of  this  plate  are  sufficiently  plain,  without  any  further 
explanation,  as  each  part  of  it  can  be  accurately  measured, 
by  the  scale  of  feet  here  laid  down. 


so 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XXVIII. 

DESIGNS  FOR  CORNICES. 

Figs.  A B C D and  H are  proper  for  the  outside  finish- 
ing ; for  eves  of  buildings,  door  and  window  caps,  or  any 
other  place  required.  A is  drawn  from  the  same  scale  of 
minutes,  that  the  Tuscan  cornice  is  drawn  from  ; and 
may  with  propriety,  be  used  instead  of  that  cornice,  in 
small  porticos,  or  in  any  other  place  where  lightness  is 
required.  Figs.  E F and  G are  proper  for  the  finishing 
of  rooms,  or  any  other  place  required.  They  have  fre- 
quently been  executed  under  my  direction  in  stucco,  with 
great  success.  To  proportion  them  to  rooms  : suppose  a 
room  ten  feet  high  ; divide  it  into  forty  equal  parts,  give 
one  of  them  to  the  height  of  the  cornice,  which  will  be 
three  inches  ; divide  three  inches  into  as  many  parts  as 
are  contained  in  the  height  of  the  cornice,  intended  to  be 
used  ; then  each  member  of  the  cornice  will  be  so  many 
of  those  parts,  either  in  height  or  projection,  as  are  figured 
on  the  plate.  To  proportion  cornices  to  the  eves  of 
buildings  : suppose  a house  thirty-five  feet  high  ; divide 
that  height  into  thirty  equal  parts,  one  of  which  will  be 
the  height  of  the  cornice  ; then  proceed  to  draw  it  as 
above  directed.  It  is,  however,  often  necessary  to  vary 
that  proportion,  if  it  be  required  to  make  a cornice  to  a 
house  of  twenty,  or  twenty-five  feet  front,  and  forty  feet 


1'.  H 

iJ]  \~z~ 


THE  RUDIMENTS  OF  ARCHITECTURE.  81 

high,  unconnected  with  any  other  building.  In  that  case, 
I should  not  make  the  cornice  larger  than  one  fortieth 
part  of  the  height  ; but  for  a two  story  house  of  twenty- 
five  feet  high,  and  from  forty-five  to  sixty  feet  front,  I 
should  make  the  cornice  about  one  twenty-sixth  part  of 
the  height. 


82 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XXIX. 

DESIGNS  FOR  ARCHITRAVES,  BASE  AND  SURBASE  MOULD- 
INGS. 

To  proportion  base  and  surbase  mouldings  to  the 
pedestal  part  of  rooms  : divide  from  the  floor  to  the  top 
of  the  surbase  into  ten  parts,  one  of  which  will  be  the 
height  of  the  surbrase.  Suppose  the  height  to  he  two  feet, 
eight  inches  ; one  tenth  would  be  three  inches  and  one 
fifth  of  an  inch  ; divide  that  distance  into  as*  many  parts 
as  are  contained  in  the  surbase  intended  to  be  used  ; then 
each  member  of  the  surbase,  and  also  the  base,  will  he  so 
many  parts  of  that  scale,  either  in  height  or  projection,  as 
are  figured  on  the  plate.  Make  the  plinth  from  five  to 
seven  inches  high.  . 

To  proportion  architraves  to  doors  and  windows  ; di- 
vide the  door  into  eight  parts,  give  one  to  the  width  of 
the  architrave  ; suppose  a door  three  feet  six  inches 
wide ; one  eighth  would  be  five  and  one  fourth  inches. 
Divide  that  distance  into  as  many  parts,  as  are  contained 
in  the  architrave  intended  to  be  used  ; then  each  member 
of  it  will  be  as  many  parts,  either  in  height  or  projection 
as  are  figured  on  the  plate.  It  is  often  necessary  to  vary 
that  proportion,  and  oftener  for  inside  of  windows,  than 
for  doors.  For  example  : A room  which  required  the 
doors  to  be  three  feet,  six  inches  wide,  would  probably 
require  the  window  of  such  a size,  that  the  opening  be* 


THE  RUDIMENTS  OF  ARCHITECTURE. 


83 


tween  the  architraves  would  be  four  feet,  four  inches,  one 
eighth  of  which  would  be  six  and  a half  inches.  In  all 
such  cases  I should  make  the  architrave  to  the  windows 
the  same  width  as  that  of  the  doors.  It  would  be  very 
improper  to  have  two  widths  of  architraves  in  the  same 
room.  Judgment  must  be  exercised  respecting  their  pro- 
portion. If  they  are  to  be  used  on  external  parts  of  build- 
ings, and  at  a considerable  distance  from  the  eye,  it  will 
be  proper  to  make  tiiem  larger,  than  if  used  on  internal 
finishings,  and  near  to  the  eye. 


84 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE  XXX. 

TO  DRAW  THE  SCROLL  OF  A HAND-RAIL. 

Fig.  1.  Make  a circle  three  and  a half  inches  in  diam- 
eter ; divide  it  into  three  equal  parts  ; make  a square  in 
its  centre  equal  to  one  of  those  parts  ; divide  each  side  of 
that  square  into  six  equal  parts  ; draw  lines  across  it  both 
ways,  with  the  distance  from  1 in  the  square  to  i ; and  on 
1 draw  from  i to  k ; on  2 draw  k 1 ; on  3 draw  1 m ; on 
4 draw  m n ; on  5 draw  no  ; and  on  6 draw  o 6,  which 
completes  the  outside  revolution.  Set  the  thickness  of 
the  rail  from  6 to  r,  then  on  the  centres  6 and  5 go  the 
reverse  way  to  complete  the  inside  line.  The  curtail  step 
is  drawn  from  the  same  centres  as  that  of  the  rail,  and  is 
represented  by  the  dotted  lines  on  the  plate. 

TO  DRAW  THE  FACE  MOULD  FOR  SQUARING  THE  TWIST 
PART  OF  THE  RAIL. 

Make  the  joint  so  as  to  just  clear  the  side  of  the  scroll, 
as  the  base  line  of  the  pitchboard  ab;  draw  ordinates 
across  the  scroll  at  discretion,  to  cut  the  line  c b the  long- 
est side  of  the  pitchboard  ; take  notice  that  lines  be  drawn 
from  3 and  &,  so  that  the  points  may  be  exact  at  3 and  b ; 
make  1 b in  Fig.  2,  exactly  equal  in  its  length  and  divi- 
sions to  6 b in  f ig.  1 $ then  transfer  the  distances  5 10, 


THE  RUDIMENTS  OF  ARCHITECTURE. 


85 


4 9,  S 8,  2 s 7*,  and  1 r 6 to  Fig.  2,  and  trace  the  lines  as 
those  figures  direct,  which  completes  the  face  mould. 


TO  DRAW  THE  FALLING  MOULD. 

Fig.  3.  a b c is  the  pitchboard  : its  height  is  divided 
into  six  equal  parts  to  give  the  level  of  the  scroll ; the  dis- 
tance a d is  from  the  face  of  the  riser,  to  the  beginning  of 
the  twist  ; and  the  distance  from  d to  k is  the  stretchout 
from  6,  the  beginning  of  the  twist  round  to  h in  Fig.  1, 
each,  being  any  point  taken  at  discretion  more  than  the 
first  quarter.  Divide  the  level  of  the  scroll,  and  the  rake 
of  the  pitchboard,  each,  into  a like  number  of  parts,  and 
complete  the  top  edge  of  the  mould  by  intersecting  lines, 
and  make  the  under  edge  parallel  to  it. 

Fig.  5 represents  the  eye  of  the  scroll  at  large,  with  the 
centres  figured,  and  lays  exactly  in  the  same  position  as 
that  in  Fig.  1. 


HOW  TO  FIND  THE  PARALLEL  THICKNESS  OF  STUFF  FOR 
THE  TWIST  AND  SCROLL. 

Take  the  stretchout  of  the  line  from  6 to  &,  in  Fig.  1 ; 
place  it  upon  the  base  line  of  the  pitchboard  from  d to  g9 
in  Fig.  3 ; draw  g h perpendicular,  to  intersect  the  top  of 
the  mould,  and  draw  the  dotted  line / h to  i parallel  to  the 
level  of  the  scroll  ; then  take  the  distance  1 b in  Fig.  1, 
which  is  the  length  of  the  plan  for  the  twist  part,  and  set 
it  from  d to  e in  Fig.  3 ; and  draw  e f perpendicular  to 
cut  the  parallel  / h i ; then  draw  a dotted  line  through 
/,  parallel  to  c b , the  longest  side  of  the  pitchboard, 


86 


THE  RUDIMENTS  OF  ARCHITECTURE* 


which  gives  the  thickness  of  stuff  for  the  twist,  which  is 
about  4 inches ; and  from  the  end  of  the  parallel  line 
/ h i,  and  from  i to  n9  the  base  line  of  the  scroll,  also 
gives  the  thickness  of  stuff  for  the  scroll,  which  is 
three  inches. 

Fig.  4 represents  the  outside  falling  mould,  and  is 
found  in  the  same  manner  as  that  of  Fig.  3. 


* 


. 


. • . ' 


. 


' 


c 


THE  RUDIMENTS  OF  ARCHITECTURE. 


87 


PLATE  XXXI. 


THE  METHOD  OF  GETTING  A SCROLL  OUT  OF  A SOLID  PIECE 
OF  MOOD,  THE  GRAIN  RUNNING  THE  SAME  DIRECTION 
WITH  THE  RAIL. 

Place  the  pitchboard  a b c in  Fig.  D ; then  draw  ordi- 
nates across  the  scroll  at  discretion,  and  make  a b in  E 
parallel  with,  and  equal  in  length  to  a b on  the  longest 
side  of  the  pitchboard  in  D ; and  from  where  the  ordi- 
nates of  D cut  that  line,  and  at  right  angles  with  it,  draw 
other  ordinates  through  E,  cutting  a b in  E at  a 2 3 4 5 
6 7 8 9 10  and  b ; and  on  10  in  D take  the  distances  10  k9 
and  10  l ; transfer  them  from  10  to  k and  l on  E ; then  on 
9 in  D take  the  distances  i and  m,  and,  as  before,  transfer 
them  to  E,  and  so  on  ; until  E,  the  face  mould,  is  com- 
pleted. Note.  The  scroll  D is  drawn  as  is  directed  in 
the  foregoing  plate. 

HOW  TO  FIND  THE  PARALLEL  THICKNESS  OF  STUFF. 

Let  a b c be  the  pitchboard  in  F,  and  let  the  level  of  the 
scroll  rise  one  sixth,  as  in  the  last  plate  ; then  from  the 
end  of  the  pitchboard  b , which  is  exactly  over  the  face  of 
a banister,  draw  the  form  of  a rail,  which  will  extend  to  d ; 
and  from  the  nose  of  the  scroll  draw  the  dotted  line  m n 
parallel  with  c b ; and  the  distance  between  that  line  and 
the  under  tip  of  the  scroll  will  be  the  thickness  required. 


I 


SS  THE  RUDIMENTS  OF  ARCHITECTURE. 

which  is  about  six  inches.  It  will  be  hardly  discernible, 
if  a small  piece  be  glued  on  the  under  tip  of  the  scroll, 
from  e to  i ; nor  will  it  injure  its  strength,  but  would  re- 
duce the  thickness  of  stuff  to  about  five  and  one  fourth 
inches. 

i 

Fig.  4 represents  a section  of  a handrail ; to  draw  it, 
make  a square,  as  a b n m,  with  the  distance  a b ; and  on 
c draw  the  arch  d u ; and  with  the  distance  d a on  e draw 
d o i make  r s three  fifths  of  m n9  and  on  i complete  the 
curve  from  o to  the  side  of  the  rail  r. 


Plate  4-6. 


PI.  i'2 


THE  RUDIMENTS  OF  ARCHITECTURE. 


89 


PLATE  XXXII. 

TO  FIND  MOULDS  FOR  MAKING  BUTT  JOINTS  FOR  A RAIL, 
WHEN  GOT  OUT  OF  THE  SOLID. 


Let  fig.  1 be  the  plan  of  a rail  ; b c d9  and  bed,  the  two 
sides  of  the  circular  part  ; a b and  d e9  the  breadths  of 
two  common  steps,  at  the  beginning  and  end  of  the  wind- 
ers ; make  the  whole  stretchout  of  the  straight  line,  A B 
C I)  E,  fig.  2,  equal  to  a b c d e,  round  the  outside,  going 
upward,  fig.  1 ; that  is,  make  A B,  in  fig.  2,  equal  to  a b9 
fig.  1 ; the  last  common  step  in  the  ascent  before  the 
winders  ; B C D,  in  fig.  2,  equal  to  the  circumference  of 
the  semicircular  part,  bed,  fig.  1,  and  D E,  in  fig  2,  equal 
to  d e ; on  the  outside,  fig.  1,  the  first  common  step  imme- 
diately after  ascending  the  winders,  draw  the  lines  B F, 
D G,  and  E II,  perpendicular  to  A E ; make  B F,  equal 
to  the  height  of  one  step  ; make  D G,  one  step  higher 
than  the  number  of  winders  that  is  in  the  example  ; sup- 
pose the  circular  part  to  contain  eight  winders,  then  D G 
will  be  equal  to  the  height  of  nine  steps  ; make  E H equal 
to  the  height  of  ten  steps  ; then  join  A F,  F G,  and  G H, 
and  describe  the  parabolical  parts  A I,  and  K II,  and  the 
under  edge  of  the  falling  mould  will  be  completed  ; the 
upper  edge  w ill  be  formed  by  drawing  a line  parallel  to  it, 
and  equal  to  the  thickness  of  the  rail.  Bisect  the  stretch- 
out of  the  circular  part  B D,  at  C ; from  C,  draw  C M. 


90 


THE  RUDIMENTS  OF  ARCHITECTURE. 


perpendicular  to  A E,  cutting  both  edges  of  the  falling 
mould  at  L and  M ; bisect  L M at  N,  and  through  N, 
di  ■aw  O P 5 at  right  angles  to  the  falling  mould  ; cutting 
it  at  O and  P ; through  the  points,  0 and  P,  draw  O Q, 
and  P R,  each  perpendicular  to  A E,  cutting  A E,  at  Q 
and  R ; let  S T be  the  joint  on  the  straight  part  ; then 
from  the  points  S and  T,  draw  S U and  T V,  perpendicu- 
lar to  A E,  cutting  it  at  U and  V,  then  take  the  distances 
C R and  C Q,  in  fig.  2,  and  apply  them  in  the  middle  of 
the  circular  part,  fig  1,  from  c to  r,  and  from  c to  q , and 
draw  to  the  centre  r Z,  and  q Z,  cutting  the  inside  of  the 
rail  at  r and  q ; also  take  the  distances  B V,  and  B U, 
fig.  2,  and  apply  them  from  b to  v , and  from  b to  u9  fig. 
1 ; then  draw  v v and  u u at  right  angles  to  the  rail,  cut- 
ting the  other  side  at  v and  u ; then  through  the  points 
u and  r,  on  the  inside  of  the  rail,  fig.  1,  draw  the  chord 
u r,  then  from  all  the  points,  u9  u9  v9  v q q9  and  r,  r, 
draw  lines  u u s9  u s9  v t9  v t9  and  q o,  &c.  each  perpendi- 
cular to  the  chord  line  u r ; then  complete  the  sections 
of  the  rail  1 1 s s9  and  o o p p9  as  are  shown  at  the  shad- 
owed parts,  and  draw  the  chord  line,  s o9  to  touch  these 
sections  without  cutting  them  ; then  take  any  number 
of  intermediate  points  as  5,  6,  7,  8,  in  the  chord  u r9  and 
draw  the  lines,  5 5,  6 69  7 7,  8 8,  perpendicular  to  u r9 
cutting  the  chord  of  the  face  mould,  s o at  the  points  5, 
6,  7,  8 ; continue  the  lines  u s and  r p9  till  they  cut  the 
chord  line  of  the  face  mould,  s o,  at  o and  9 ; through  all 
those  points,  s9  o,  5,  6,  7,  8,  0,  10,  9,  draw  lines  perpen- 
dicular to  the  chord  of  the  face  mould,  s o,  for  ordinates, 
points  being  found  in  each  of  them  corresponding  to 


THE  RUDIMENTS  OF  ARCHITECTURE. 


91 


these  ; on  the  plan  and  lines  being  traced  through  these 
points  the  face  mould  X,  will  be  completed  in  the  usual 
manner. 

N.B.  The  small  letters  on  the  sections  of  the  face  mould, 
and  similar  capital  letters  on  the  falling  mould,  show  cor- 
responding places  in  each. 

HOW  TO  CUT  THE  JOINTS. 

The  stuff  must  first  be  cut  out  by  the  face  mould,  and 
the  joints  made  exactly  plumb,  according  to  the  face 
mould,  as  is  shown  by  figs.  3 and  4. 

To  make  this  appear  plain,  figs.  3 and  4,  are  different 
views  of  this  solid  rail,  got  out  by  the  face  mould  X.  Fig. 
3 shows  the  top  and  convex  side  of  the  pieces,  which  is  to 
make  the  rail  ; take  the  distance  9 p,  from  the  chord  line 
of  the  face  mould,  down  the  perpendicular,  fig.  1,  and  set 
it  from  9 top,  in  fig.  3 ; then  apply  the  shadowed  part  of 
the  falling  mould  at  fig.  2,  which  is  to  correspond  to  the 
block  of  the  rail,  fig.  3 ; that  is,  apply  the  point  S,  the 
upper  edge  of  the  lower  end  of  the  failing  mould,  at  fig.  2, 
to  the  point  s at  the  fig.  3,  and  bend  the  falling  mould 
round  until  the  point  P,  the  lower  edge  of  the  upper  end  of 
the  falling  mould,  coincide  with  the  point p ; draw  a line 
all  round  by  the  falling  mould  ; it  will  show  how  to  cut  off 
the  ends  of  the  rail,  and  will  also  give  the  upper  and  lower 
edge  of  the  rail.  Fig.  4,  shows  the  concave  side  of  the 
piece,  in  order  to  show  the  ends,  having  similar  letters  of 
reference  as  before.  From  s in  fig.  4,  draw  s s,  at  right 
angles  to  s b ; then  cut  off  the  end  through  the  line  s s , as 


92 


THE  RUDIMENTS  OF  ARCHITECTURE. 


is  shown  at  fig.  3,  and  through  the  points  s,  t9  as  is  shown 
at  fig.  4.  The  upper  joint  will  be  found  in  the  same  man- 
ner ; that  is,  by  drawing  the  linep  p,  at  right  angles  to  9 
p ; then  cut  off  the  end,  through  the  line  p p9  in  fig.  4,  and 
through  p o9  as  is  shown  in  the  other  view,  fig.  3.  If  great 
accuracy  is  required  in  squaring  the  rail,  make  an  inside 
falling  mould,  which  apply  the  under  edge  of  the  upper  end 
to  the  point  p9  in  fig  4,  and  the  upper  edge  of  the  lower 
end  of  the  falling  mould,  to  the  point  s9  and  draw  lines 
above  and  below,  by  the  two  edges  of  the  falling  mould  ; 
and  it  will  give  the  form  of  the  upper  and  under  edges  of 
the  rail.  By  this  method  of  proceeding,  the  workmen  will 
be  enabled  to  cut  out  the  stuff  of  a hand  rail  with  very 
great  accuracy. 


Plate  A 


Fiy.  B 


I'u/  C. 


11111111111 


Plate  B 


THE  RUDIMENTS  OF  ARCHITECTURE. 


93 


PLATES  A & B. 


PLAN  AND  ELEVATIONS  OF  A CHURCH. 


Plate  A,  fig.  a,  is  a plan  ; fig.  b9  an  elevation  of  a Church, 
drawn  on  a scale  of  twenty  feet  to  an  inch,  which  will  con- 
tain about  one  thousand  people.  The  dotted  line  on  the 
plan  represents  the  front  line  of  the  gallery,  which  is  in- 
tended to  run  across  the  front  only,  and  not  continue  along 
the  sides  of  the  house,  as  is  common  in  churches  in  this 
country. 

Plate  B,  fig.  c,  is  a side  elevation  for  the  same  building. 
Fig.  d respresents  a plan  of  the  cupola  ; 1,  shews  the 
shape  and  size  of  the  tower,  as  it  rises  from  the  roof  of  the 
house  ; 2,  the  shape  and  size  of  the  story  which  is  intend- 
tended  to  contain  the  bell  and  clock  ; 3,  the  shape  and 
size  of  the  octagon  story,  which  is  to  be  finished  after  the 
Ionic  order ; and  4,  the  size  and  shape  of  the  base  which 
is  to  support  the  roof.  e shows  the  size  and  shape  of  the 
glass,  and  the  manner  of  finishing  the  inside  of  one  of  the 
windows,  any  part  of  w hich  may  be  measured  by  the  scale 
of  feet  below  it. 


94 


THE  RUDIMENTS  OF  ARCHITECTURE. 


A TABLE, 

Shewing  the  weight  of  square  bars  of  iron  of  one  foot 
in  length,  from  three  eighths  of  an  inch  to  four  inches 
square  ; also  flat  bars  of  the  same  length,  from  three 
eighths  in  thickness  by  one  and  a half  inches  wide,  to  three 
fourths  in  thickness  by  three  and  three  fourths  inches 
wide  ; which  will  be  found  very  useful  for  estimating  the 
prices  of  iron  work,  such  as  fences,  gates,  window 
guardirons,  &c. 


wwwvwv^ 


WEIGHT  OF  SQUARE  IRON 
BARS. 


Square.  | 


WEIGHT  OF  FLAT  IRON 
BARS. 


In. 

1 

1 

1 

1 

1 

1 

1 

1 

2 

2 

2 

2 

2 

2 

2 

2 

3 

3 

3 

3 

4 


, lb. 

qr. 

X 

A 

oz. 

0 

0 

Width 

Thick- 

I 

1 

4 

2 

in 

ness. 

1 

4 

3 

4 

1 

Inches 

lb. 

qr. 

2 

l 

3 j 

2 

JL 

0 

1 

1 

2 

3 

8 

1 

3 

4 

3 

x 

3 

1 

3 

4 

3 

8 

2 

4 

4 

I 

0 

1 

1 

2 

1 

2 

2 

0 

5 

I 

31 

I 

5 

8 

1 

2 

2 

3 

4 

6 

1 

2 

I 

3 

4 

1 

2 

3 

0 

7 

j_ 

2 

1 

7 

8 

1 

2 

3 

4 

9 

x 

0 

2 

0 

1 

2 

3 

1 

2 

10 

x 

31 

2 

1 

1 

2 

3 

3 

4 

12 

x 

A 

1 

2 

3 

8 

1 

2 

4 

0 

14 

4 

0 

0 

2 

1 

2 

1 

2 

4 

1 

2 

15 

X 

1 

2 

3 

4 

1 

2 

4 

3 

4 

17 

I 

•2 

3 

2 

3 

4 

5 

8 

5 

I 

4. 

19 

3_ 

0 

3 

0 

1 

2 

5 

4 

21 

4 

3_ 

2 

3 

0 

5 

6 

1 

2 

24 

2 

0 

3 

0 

3 

4 

8 

0 

26 

i 

3 

3 

4 

1 

2 

5 

1 

2 

28 

x 

3 

3 

4 

5 

8 

7 

0 

31 

4 

x 

0 

3 

4 

3 

4 

8 

1 

2 

37 

0 

0 

3 

1 

2 

1 

2 

6 

0 

42 

x 

0 

3 

1 

2 

5 

8 

7 

I 

T 

49 

x 

0 1 

3 

5 

8 

3 

4 

9 

1 

2 

56 

0 

0 ! 

3 

4 

3 

4 

9 

3 

4 

31 

0 

2 

H 


of 

0 

0 

2} 

2 

I 

0 

1 

if 


H 

of 

2 

2 

11 

n 


CONTENTS  OF  THE  PLATES. 


Definitions -------1 

Perpendiculars  bisecting  angles , polygons , Spc.  - - - 2 

i/ow  Jo  make  an  octagon  within  a square , tangent  lines, 
and  how  to  draw  a segment  of  a circle,  Spc . - - - S 

How  to  describe  ellipses  by  a string,  a trammel,  and  by 
ordinates,  Spc.  - --  --  --  --  -4  and  5 

How  to  find  the  curves  of  an  angle,  brackets,  raki  ng  cor- 
nices, and  how  to  describe  the  segment  of  a circle  by 
rods  - --  --  --  --  --  --  --  6 

How  to  diminish  the  shaft  of  a column,  and  how  to  pro- 
portion the  flutes  and  fillets,  on  both  columns  and 

pilasters  - - - - 7 

How  to  describe  the  Ionic  volute  -------  8 

How  to  proportion  and  draw  both  Grecian  and  Homan 
mouldings  ----------  9,  10  and  1 1 

How  to  proportion  the  Tuscan  order 12 

„ ,,  „ ,,  Doric  ,,  ------ 

„ ,,  „ ,,  Ionic  „ ------  14 

,,  ,,  ,,  ,,  Corinthian ,,  - --  --  - 1 5 

„ „ „ „ Composite  ,, 16 

How  to  glue  up  the  Ionic  capital  17 

How  to  draw  the  Roman  Ionic  capital  -----  18 

How  to  glue  up  and  finish  the  Corinthian  capital  - - 19 


96 


THE  RUDIMENTS  OF  ARCHITECTURE. 


PLATE 

The  planceers  of  the  Doric  and  Ionic  cornices  at  an  ex- 
ternal angle , also  the  Ionic  modillion  -----  20 

Tuscan , Doric,  and  Ionic  cornices 21. 

Examples  of  leaves  for  the  capital  and  modillion  of  the 

Corinthian  order 22 

Examples  for  keystones,  banisters,  and  urns  - - - 23 

Pedestals  for  each  of  the  five  orders 24 

Impost  mouldings  and  architraves  for  arches  - - - 25 

Frontispiece  and  door  of  the  Tuscan  order  - - - - 26 

Frontispiece  and  door  of  the  Doric  order 27 

Examples  for  cornices,  for  both  inside  and  outside  finish- 
ings   28 

Examples  for  base  and  surbase  mouldings, and  for  archi- 
traves   29 

1 low  to  draw  the  scroll,  and  find  the  face  and  falling 
moulds,  to  any  pitch  of  a hand  rail  - --  --  -30 

How  to  find  the  face  and  falling  moulds,  also  the  paral- 
lel thickness  of  stuff  when  a scroll  is  to  begot  out  of  a 

solid  piece  of  wood ---31 

IIow  to  find  the  face  and  falling  moulds,  and  to  cut  the 
joints  of  the  circular  part  of  a hand  rail  - - - - 32 

Plan  and  Elevation  of  a Church A 

Side  Elevation  of  the  same  plan,  of  a Cupola, and  windows  B 


\ Ultll  V * ■<-  i^s'i 

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